Or. re OG We 


“IN DRESS 


: PRACTICAL DECORATOR,” “THE ART: OF 
ILLUMINATING,” » EITC,, ETC. 


PRACTICAL manual on that most impor- 
‘tant of subjects: how to‘choose colors. which 
_ ~~ ~~ harmonize at once with the wearer’ s com- — 
: plexion and with one another. 

2 In clear, non-technical language Mr. Aualey € eee 


* Peat color Ne and ‘atic which of | 
these are most suitable for each type of women. ‘ 
Such matters as simultaneous and successive con- 
trast are fully discussed: and a final chapter considers 
E> the. interesting question of symbolism and expression en coeeae 
in dress. , 
The book has for long been a recognized text : book 

in use in schools of costume design: it is also of © 
distinct value to every woman who is concerned with 

‘the problem of determining exactly what colors she 

can wear to the enhancement of her own charm, . 


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oe Oe ew eK we ee ee RH Oe 


COLOUR HARMONY IN DRESS 


COLOR HARMONY 
IN DRESS 


BY 
GEORGE ASHDOWN AUDSLEY, Lt t.p. 


Author of “The Practical Decorator,” “Guide to the Art of 
Illuminating,” “The Art of Chromolithography,” ‘The Ornamental 
Arts of Japan,” etc., etc. 


NEW YORK 
ROBERT M. McBRIDE & COM PANY 
1928 


‘> x are 


COLOR HARMONY IN DRESS 


PRINTED 


7 


CONTENTS 


NTRODUCTORY .. 
HARMONY OF COLOUR . . . 


SIMULTANEOUS CONTRAST OF COLOUR 


° 


HE SYMBOLISM AND EXPRESSION OF COLOURS 


INTRODUCTORY 


COLOUR IN DRESS 


CHAPTER I 


INTRODUCTORY 


**Go, little booke ; God send thee good passage, 
And specially let this be thy prayre, 
Unto them all that thee will read or hear, 
Where thou art wrong, after their help to call, 
Thee to correct in any part, or all.”—CHAUCER. 


§O no lady who possesses a refined and 
artistic taste can a treatise on Colour 
in Dress be devoid of interest ; 
especially when it is written, in all 
seriousness, with the sole aim of 
enabling her to give true value to her complexion, 
and dignity and repose to her figure; and based, 
in its teaching, on the natural laws and phenomena 
of colour harmony. To add to this interest, and 
to render this handbook as useful as possible, care 
has been taken to avoid anything approaching 
systematic technicality, and to render all informa- 
tion and advice in the simplest language, even at 
the risk of falling into some repetition. 


2 


COLOUR IN DRESS 


While we do not suppose that every lady who 
may open the leaves of this book will possess a 
natural taste for colour, and an intuitive sense of 
colour harmony ; we do believe that every one, into 
whose hands it may fall, desires the knowledge or 
instruction that will lead her to dress in becoming 
colours, and those which will enhance her personal 
charms at all times, and impart the appearance of 
refinement and artistic repose to every costume she 
wears. No lady, however beautiful she may be in 
face and figure, is beyond the potent influence of 
colour in dress: indeed, the more perfect her beauty 
is, the more susceptible will it be to the injurious 
effects of inharmonious colour and undesirable 
simultaneous contrast. Just as she will be admired 
for her natural charms will her taste, or want of 
taste, in her dress be criticised. 

In all articles of costume, ladies are to-day 


absolute and unreasoning slaves to fashion, what- — 


ever form it may take—becoming and sensible, or 
distressingly ugly and destructive of all comfort 
and elegance. Fashion dictates colour as well as 
form. Every season has its new and so-called 


“ fashionable colour”—fashionable at the whim of — 


the manufacturers and dyers, and for trade gains 
only ; and advocated by the dressmakers for the 
same reason. Ladies who desire to be considered 


fashionable adopt them blindly and gladly. The 


4 


INTRODUCTORY 


universal adoption of any colour or colours in 
articles of dress, whether fashionable or otherwise, 
is a practice which must ever be objectionable in 
its effects, and adverse to all artistic ideas relating 
to the use of colour in costume. 

Every one must be aware that colour has a 
great influence on the appearance of the com- 
plexion; and that different complexions require 
different colours to enhance or improve them, and 
add to them that indescribable charm which 
properly contrasting and harmonising colour alone 
can give. Yet, in defiance of these acknowledged 
facts, what do we see? No sooner has a new 
colour or hue of a colour appeared (and being new, 
of course it is pronounced fashionable), than the 
general mass of the ladies of the country attire 
themselves in it, with the most praiseworthy dis- 
regard as to whether it suits them or not. 

Why this carelessness? Does a painter drape 
his figures in any colour he may find by chance 
upon his palette? Certainly not. Why, then, 
should ladies take whatever the clever dyer has 
produced by way of novelty, and attire themselves 
in it without once asking whether it will harmonise 
with their complexions or not? If our fair friends 
would only be persuaded to ask themselves, or 
some one capable of giving a reliable opinion, this 
important question a little oftener than they seem 


5 


) ee. ee eee Rayan aae 
F , i a ‘ Bs ; ep We ta A 


COLOUR IN DRESS 


to do, we should in no case have colours more 

fashionable in dress than in refined decorative art. 
Besides the want of knowledge regarding the 

colours which harmonise with, and enhance, the 


natural beauty of the various complexions, there - 


evidently exists a considerable amount of ignor- 
ance as to the colours which harmonise with each 
other in contrast and analogy. This causes a 
grievous display of bad taste. 

By adopting colours which disagree with the 


tints of the complexion, the injury sustained is 
simply a loss of personal beauty (we grant, fair 
lady, it to be a serious loss), and such a proceeding ~ 


is not attended with positive discordance to the eye 
of the observer. But when two or more colours 
that do not harmonise are associated in dress, the 
effect is painful to the.educated eye, and harsh and 
vulgar in the extreme. 

Here we may steal words of wisdom from the 


magic pen of the most profound and earnest teacher __ 


of art who has ever lived—John Ruskin. 

“The man and woman are meant by God to 
be perfectly noble and beautiful in each other’s 
eyes. The dress is right which makes them so. 
The best dress is that which is beautiful in the 
eyes of noble and wise persons. 

“Right dress is therefore that which is fit for 
the station in life, and the work to be done in it; 

6 


INTRODUCTORY 


and which is otherwise graceful—becoming—last- 
ing—healthful—and easy ; on occasion, splendid ; 
always as beautiful as possible. 

“Beautiful dress is chiefly beautiful in colour— 
in harmony of parts—and in mode of putting on 
and wearing.. Rightness of mind is_in nothing 
‘more shown than in the mode of wearing simple 
dress. 7 

“Ornamentation involving design, such as em- 
broidery, &c., produced solely by industry of hand, 
is highly desirable in the state dresses of all classes, 
down to the lowest peasantry. — 

“National costume, wisely adopted and con- 
sistently worn, is not only desirable but necessary 
in right national organization. Obeying fashion is 
a great folly, and a greater crime; but gradual 
changes in dress properly accompany a. healthful, 
national development.” * 

Every lady who aims at dressing economically, 
and with the best effect with regard to her natural 
charms, should make a point of acquiring sufficient 
knowledge of the leading laws and phenomena of 
colour-harmony to direct her in the wise selection 
and association of coloured materials for her own 
adornment, bearing in mind the different appearance 
of colours seen in daylight and artificial light. The 
possession of the faculty of a correct appreciation 

* “ Arrows of the Chace.” 


7 


COLOUR IN DRESS 


of colour and the artistic grouping of hues—truc 
to the natural laws of harmony—grows quickly — 
with cultivation, if conducted along proper lines of — 
study and observation ; for it must be understood 
that the correct grouping of colours, pure or broken, 
is not a matter of fancy and individual predilection, 
which are too often accepted as the promptings 
of refined taste. At the same time, it must be 
acknowledged that certain persons have a keen 
appreciation of colour values and harmonies as a 
natural gift: yet it does not always Jead a lady to 
a true judgment respecting the colours best suited 
for her own type. While she may place two or 
more colours in juxtaposition with unerring appre- 
ciation of their harmonious relationship, she may, 
and very likely will, be unable to give the true 
reason for their harmoniousness. Yet it is just this 
reason that requires to be known, to guide her in 
the selection of colours which will harmonise with 
and enhance her natural type of beauty. It is with — 
the sole aim of furnishing all that is absolutely 
necessary to be known respecting the combinations 
and effects of different colours in matters of dress 
that we have written and illustrated the following 
Chapter, which treats on the harmonies of contrast 
and analogy ; both of which are resorted to in the © 
artistic colouring of costume. While the disserta- 
tion has to assume a somewhat scientific tone, we 
8 


aa 


INTRODUCTORY 


have endeavoured to give it a popular treatment, 
such as any one can understand, and leaving no 
important fact or phenomenon unexplained. 

Women ought to be jealous and deserving of 
the privilege they possess of adorning themselves 
in colours, and just such colours as they may think 
proper to select, be they all the colours of the rain- 
bow. It has been truly said by a writer on dress, 
that “women will never renounce the means of 
pleasing which colour gives them ; they will never 
consent to lay down such a weapon, for in the great 
show of life all colour in the present day is on their 
side.” There can be no reason or wish that they 
should renounce such legitimate and harmless 
means of pleasing ; and it is only to be wished that 
they will add to the potency of “such a weapon,” 
by seeing that it be made more trenchant, by im- 
parting to it every element of beauty that har- 
monious colouring can bestow. 

We would be glad to speak at some length on 
artistic form in dress ; but to do so would involve a 
serious departure from our special subject, and un- 
desirably encroach on the limits imposed on this 
Manual. We can, however, venture to give the few 
following hints, as it seems impossible to consider 
the question of colour in dress without to some 
extent contemplating form in dress. We are, at 
the same time, compelled to admit that whatever 


2 


tre errr een gr ee 


rt 4 ee A 
. “@ a A 


COLOUR IN DRESS 


any one may put on paper respecting form in dress, 
may just as well be written on sand, for every tide 
of fashion will wash it away. That fashion has no 
respect for personal appearance has been amply 
shown in the recent awkward, inconvenient, and 
unseemly style of ladies’ out-door costume. 

Dress, in its common-sense form, is based on 
practical requirements, and, to be artistic, must give 
an outward expression of those requirements. 

As dress is the necessary covering to the body, 
it should, to as large an extent as is consistent with 
protection and utility, indicate the leading lines of 
the figure, without impeding graceful action of the 
limbs or interfering with healthy exercise. 

In the design and arrangements of its parts, 
dress should be free from all unnecessary additions 
to its main structure that will interfere with its 
artistic repose and grace; while accessories judi- 
ciously applied, as if growing from and accentuating 
its dominant parts, and, perhaps, adding force to its © 
leading lines, afford admirable fields for the display 
of harmonious colouring, ; 

Beauty of form in dress is produced by the 
artistic association of graceful curves, which crow 
out of each other—the lesser from the greater—and 
combine to produce oneness of effect to the eye. 
“The love of beauty in all its forms is an instinct 
sO universal that we feel it must be in a sense — 

10 


a thy 
of 


7 


INTRODUCTORY 


divine, and the influence of beauty, not abused, has 
been seen in all ages to be for good not harm. - 
We owe to it all culture and all pleasure. .. 

Rightly followed, the love of all that is beautiful 
is right and elevating. It is a recreation after dry 


_ hard work to look on graceful lines and harmonious 
colours. They bring fresh thoughts, revive sweet 
old memories; they remind us of wild, untram- 
_ melled nature ; they soften our hearts, and improve 


our tempers.” 

The fabrics selected for dress should invariably 
be those best fitted to meet the needs of the wearer, 
as well as most suitable for the season of the year 
and the time of day in which the dress is to be 


worn. The question of colour becomes an im- 


portant factor in this matter of selection, especially - 
as its effect differs considerably under natural and 


artificial lights, as pointed out in the proper place. 


In artistic and refined dress, ornament may be 
applied to give force or life to its structural features: 
but here the canon, which obtains in architecture 


and ornamental art, that. construction may be 


decorated but not decoration constructed, should be 


observed. Ornament in dress may assume two 


legitimate functions: it may, in the form of an 

appropriate trimming, be added to accentuate lines 

or shapes; and it may be tastefully applied for 

the purpose of relieving monotony of effect by 
II 


COLOUR IN DRESS 


introducing harmony of colour, either in contrast 
or analogy. 

We may appropriately close the present Intro- 
ductory Chapter by the following extract from the 
work of a distinguished authoress who wrote above 
' thirty years ago, but whose words are as applicable 
in the present year of Grace as they were in the 
year 1870. | 

“We must give intelligent attention to the chief 
points which go to make up our clothing. And 
who is so fit to consider those points as the wearer ? 
It is no part of a milliner’s business to think for us. 
It is not her province to consider what amount, 
form, or fabric best accords with our tone of 
mind, habits, and appearance ; that is the wearer's 
province. And until individual opinion is admitted 
to be free, we can have no true, original art in 
England, in dress, nor anything else: for the secret 


' 
4 
: 


of all true art is freedom to think for ourselves, — 


and zo do as we Itke. 
“ And Englishwomen will never efface their sad 


reputation for ill-dressing and general want of 
taste until they do think more for themselves, and — 


individualise their daily garb as part of their 
individual character. 3 
“But freedom were apt to lapse into licence, 


and general harmony to end in hopeless discord, — 
unless the clear perception of right and wrong © 


12 


INTRODUCTORY 


(afforded in the present instance by shrewd and 
cultivated taste) took the helm. Taste is then, 
undoubtedly, a matter of principle and sympathy. 
Care of others’ feelings and views, honesty of 
‘purpose, and a sense of propriety and fitness go 
a long way to render people charming.” 


13 


HARMONY OF COLOUR 


ee 


a 
eR 


CHAPTER II 


HARMONY OF COLOUR 


“We are delighted with harmony, because it is the union of 
contrary principles, having a ratio to each other.””—ARISTOTLE. 

‘‘ Harmony exists in difference no less than in likeness, if only 
the same key-note governs both parts.” 


AT is very desirable that all who take 
: an interest in matters of costume 
should possess a sufficient know- 
ledge of the natural laws of har- 
monious ‘colouring, to enable them 
to select suitable coiours for, and to associate 
or combine them correctly in, articles of dress. 


& 
Y 
yy 


{ 


Accordingly, the present Chapter is devoted to a 


brief dissertation on those natural laws and their 
attendant phenomena, just sufficient for the pur- 


| pose of this Manual. 


Colour harmonies are properly arranged in 
two families; namely, Harmonies of Contrast and 


Harmonies of Analogy ; both of which are of the 


greatest interest and importance in Colour in Dress. 
17, Cc 


J a ig Ee hs 


COLOUR IN DRESS 


Such being the-case, every lady who aims at being 
tastefully and artistically dressed should make her- 
self acquainted with, at least, their leading facts 
and phenomena, so as to be a by their incon- 
testable teaching. . 


Before entering on the consideration of the - 
harmonies of colour, it is desirable that an explana- 


tion be given of certain terms which will repeatedly 
appear in the following pages, so as to prevent any 
confusion of ideas in the minds of those who follow 
our remarks. 


TONE OF A COLOUR.—The general term fone 


is used to designate the condition of any pure or 
normal colour which has undergone a modification 
by the addition of white or black. : 

TINT OF A COLOUR.—This term is applied to 
an admixture of a pure or normal colour and white 
in any proportion. A Zit is, accordingly, a light 
tone of any colour. 


SHADE OF A COLOUR.—This term designates 


the admixture of a pure or normal colour and black 
in any proportion. A shade is, accordingly, a dark 
tone of any colour. 

SCALE OF A COLOUR.—The term scale is em- 
ployed to designate a gradated series of cones of 
the same colour; extending from the lightest tint, 
through the pure or normal colour, to the darkest 
shade. 

18 


dasha 


o~ 3 
4° 


Co ee ae 
he. 


HARMONY OF CONTRAST 


PURE COLOUR.—A pure colour is. one that 


cannot be formed by any combination of other 


colours. There are only three pure colours known 
in the arts; namely, blue, red, and yellow. These 


are the primary colours. 


NORMAL COLOUR—This term may conveni- 
ently be used to designate a secondary, tertiary, or 
other colour, formed by the combination of two or 
more colours, which may be selected as the founda- 
tion of a scale of tones. 

HUE OF A COLOUR.—This term designates 
the modification which a colour undergoes by the 
addition of a comparatively small proportion of 
any other suitable colour. This involves a de- 
parture, more or less pronounced, from its original 
scale. 


HARMONY OF CONTRAST. 


In the absence of a clearly-defined and uni- 
versally-accepted colour-standard, there are great 
difficulties, and not a little uncertainty, in the way 
of one who would desire to write on the subject of 
colour harmony in language certain to be under- 
stood. The only person,.so far as our knowledge 
extends, who has seriously undertaken the laborious 
task of formulating:a standard of colour, pertinently 
remarks: “When any two persons talk. about a 


__cojour, say a red, a yellow, or a blue, neither can 


19 


COLOUR IN DRESS 


explain to the other exactly what kind of a red or 


yellow or blue he has in his mind’s eye. There is 


no accepted standard to refer to, all is vague. 
There is no exact meaning to any colour name, 
and misunderstandings are the order of the day. 
Teachers, colourists. decorators, and all those who 
handle coloured materials fully appreciate the chaos 
that reigns in the realm of colours in this respect. 
Eminent colourists have struggled with the solution 
of this problem of a colour-standard for centuries, 
and left the marks of their futile attempts behind 
them in print and paint.” * 

For the purpose of the present Manual it is 
quite unnecessary to go deeply into the somewhat 
uncertain subject of a colour-standard, but enough 
will be said to make all that is required in this 
direction as plain and simple as possible. By the 
aid of the Diagrams given and their accompanying 


description, we venture to think that no lady will | 


fail to understand the teaching of the present 
Chapter. 

Every colour has a considerable range of con- 
trasting colours ; but in each case the only perfect 
and absolutely harmonious contrast of a colour is 
its complementary colour. In the primary and 
secondary colours no uncertainty obtains, but in the 

* “The Prang Standard of Colours.” Boston, Mass., 
1897. 

20 


Ce ee ae 
Fe 
J 9 


HARMONY OF CONTRAST 


case of broken colours or hues, the determination 
of their perfect contrasts or complementary hues 
becomes a matter of some uncertainty. 

As has been already said, the only pure colours 


are the three primaries—blue, red, and yellow. 


These are considered pure or simple colours be- 
cause they cannot be produced by any combina- 
tions of other colours. Their right to be considered 
the only primaries has, however, been seriously 
questioned.” Notwithstanding the weight of great 


* “Various doctrines have prevailed respecting ¢he 
number of the primary colours, there being authorities for 
from one to seven; but the last having been the favourite 
number, and being sanctioned by Newton, who invented it, 
and supported by the apparent cogency of his attempt to 
demonstrate the geometrical analogy of these seven 
primaries with the diatonic octave of modern music, has 
been most generally received. If, however, the coincidence 
of the three colours, d/ue, red, and yellow, with the con- 


_ sonance of the primary triad C, E, G, of the musical scale, be 
_ the true foundation of such analogy ; and if it be demonstrable 


that all the other colours may be composed of these three, 
and that that only is primary and elementary which cannot 
be composed, as is the case with these three colours, 
then are they the only true primary colours, and as such 
they are recognized by the artist, as they were also by the 
ancient Greeks, according to the testimony of Aristotle.”— 
“Chromatography,” p. 225. 

In the “ Atlas” of April 10, 1831, is the following state- 
ment: “At the Royal Society of Edinburgh, on the twenty- 
first of March, a communication from Dr. Brewster was 
read, containing an account of a ew analysis of white solar 
light. He showed that it consists of the three primary 

21 


COLOUR IN DRESS 


names, so far as practical use in the arts is con- 
cerned the trio stands secure. The idea that there - 


are seven primaries is due to Sir Isaac Newton, 
who added to the three primaries now recognised, 
green, orange, violet, and tndigo ;—practically the 
three secondary colours, classing indigo as a hue of 
violet ;—had he examined his spectrum close to the 
prism, he would have seen that the colours just 
named were created by the crossings of the true 
primary or simple rays as they spread themselves. 
While there is no recognised standard either in 
pigments or dyes, to which direct reference can be 
made to determine the exact colour values of the 
three primaries, it is sufficient for the present pur- 
pose to state that the pure, primary blue presents 


colours, red, yellow, and blue, and that the other colours 
shown bysthe prism, are also composed of these.” 

Sir David Brewster’s theory has been contested by some 
recent investigators, who, en certain assumptions, have 
omitted yellow, and formulated the triad of primary colours, 
or, rather, “ primary~sensations,” to be red (scarlet), green, 
and blue. Even if this theory is supported by physical 
experiments with coloure.! light, and sensations created in 
the eye, it is valueless in the arts, or in practical matters 
connected with the harmonious arrangement of colours. It 
remains an incontestable fact that no pigments or dyes, in 
which blue and red enter in any proportions, can be so com- 
bined as to produce a yellow colour. Seeing that dyed 
fabrics have alone to be considered in the present treatise, 
the purely physical aspect of the primary triad fae th be 
ignored. 


22 


— 


HARMONY OF CONTRAST 


no trace of red, inclining it toward the purple scale ; 
and no trace of yellow,. inclining it toward the 
green scale. Pure red, in like manner, has no trace 
of blue, inclining it toward the purple scale ; and no 
trace of yellow, inclining it toward the orange scale. | 
- Some authorities have assumed a red of a crimson 
hue to be the correct primary ; but such an idea is 
obviously wrong, for all crimsons contain in their 
compositions a small proportion of blue: Pure 
_ yellow has no trace of red, inclining it toward the 
orange scale; and no trace of blue, inclining it 
toward the green scale. If these simple facts are 
borne in mind, it cannot be difficult to form a fairly 
accurate idea of the true character and relative 
values of the three pure, primary colours. 

As has been already said, the absolutely perfect 
contrast of any colour is its true complementary 
colour. In the case of the primaries, it is a note- 

_ worthy fact that the perfect contrast of ‘each one of 
the three is the colour produced by the combination 
of the remaining two. We accordingly find that the 
perfect contrast of pure blue is its complementary 
—orange, composed of the two primaries red and 

yellow, and occupying a middle position with 
respect to them; that the perfect contrast of pure 
red is its complementary—green, composed of the 
two primaries blue and yellow, also occupying a 
middle position with respect to them ; and that, in 


23 


COLOUR IN DRESS 


like manner, the perfect contrast of pure yellow is 
its complementary—purple, composed of the two- 
primaries blue and red, and occupying a middle 
position between them.* 

These simple facts relating to the primaries, and 
secondaries, and perfect contrasts are easily de- 
scribed and remembered; but as we leave them 
for the numerous hues, formed by the admixture 
of two or moré colours in varying proportions, it 
becomes practically impossible for unaided words 
to define their perfect contrasts ; or for the ordinary 
mind to realise and remember them from mere 
description. Reference must accordingly be made 
to the accompanying Diagram to render the follow- 
ing remarks intelligible. It is so designed that 
there is no ‘difficulty in finding the true contrast 
of any colour, compounded of any two of the 
primaries, by simply following the line leading — 
from it directly across the disc, passing the central 
orb of white. It also provides a key to the Har- 
monies of Analogy, as is pointed out in sub- 
sequent pages. It will be observed that the 
circumference of Diagram A is divided into three 

* Those who accept the theory that the three primary 
colours are red, green, and blue, maintain that the comple- 
mentary colour and perfect contrast of red is green-blue ; 
that of green is purple, and that of blue is yellow. Un- 


questionably such contrasts are far from being perfect in 
either pigments or dyes. Where do they get the yellow? 


24 


ae 


HARMONY OF CONTRAST 


main parts, at the separating points of which are 
placed large orbs representing the three pure or 
primary colours—blue, red, and _ yellow. Directly 
opposite these, on the darker radiating lines, are 
smaller orbs, representing their secondary and 
perfect contrasting, normal colours—orange, green, 
and purple. Between the primary and secondary 
orbs are still smaller ones, representing pronounced 
hues of the primary and secondary colours, and 
also leading, by the thinner radiating lines, to 
their proper contrasts. These hues are indicated 
by symbols, which are explained in the following 
Table, and attended with all the contrasting colours 
and hues set forth in the Diagram .A. The Table 
commences with the orb representing red, and 
reads toward the right, and around the circle. 
Although, chiefly for the sake of simplicity, only 


_ three hues are alluded to in each of the six divisions - 


between the primary and secondary colours, it is 
obvious that the number of possible hues is very 
great. Those defined by the symbols are amply 
sufficient for all practical purposes in determining 
the contrasts likely to be called for in the most 
elaborately designed articles of costume. Should, 
however, still closer hues be desired, such, for 
instance, as lie between green and green-blue- 


‘green, the perfect contrasts will lie, of necessity, 


in the directly opposite interval between red and 
25 


COLOUR IN DRESS 


red-red-orange. The same system obtains in every 
interval in the Diagram. 


TABLE OF THE PRIMARY AND SECONDARY COLOURS 
AND HUES, WITH THEIR SYMBOLS AND PER- 


FECT CONTRASTS. 


CoLours. SYMBOLS, 
RED (Primary) . R 
RED-RED-ORANGE . RRO 
RED-ORANGE RO 
ORANGE-RED-ORANGE. ORO 
ORANGE (Secondary) . O 
ORANGE-YELLOW-ORANGE OYO 
YELLOW-ORANGE YO 
YELLOW-YELLOW-ORANGE YYO 
YELLOW (Primary) .. Y 
YELLOW-YELLOW-GREEN .- YYG 
YELLOW-GREEN. YG 
GREEN-YELLOW-GREEN GYG 
GREEN (Secondary) G 
GREEN-BLUE-GREEN GBG 
BLUE-GREEN . BG 
BLUE-BLUE-GREEN BBG 
BLUE (Primary) B 
BLUE-BLUE-PURPLE BBP 
BLUE-PURPLE OR VIOLET BP 
PURPLE-BLUE-PURPLE PBP 
PURPLE (Secondary) rE 
PURPLE-RED-PURPLE PRP 
RED-PURPLE . RP 
RED-RED-PURPLE . RRP 


PERFECT CONTRASTS, 
Green. 
Green-blue-green. — 
Blue-green. 
Blue-blue-green. 
Blue. 
Blue-blue-purple. 
Blue-purple or violet. 
Purple-blue-purple. 
Purple. 
Purple-red-purple. 
Red-purple. _ 
Red-red-purple. 

Red. 

Red-red-orange. 
Red-orange. 
Orange-red-orange. 
Orange. 
Orange-yellow-orange, 
Yellow-orange. 
Yellow-yellow-orange. 
Yellow. 
Yellow-yellow-green. 
Yellow-yreen. 
Green-yellow-green. 


DIAGRAM A.—INDICATING THE PRIMARY AND SECONDARY COLOURS WITH THEIR 
HUES AND CONTRASTS, 


HARMONY OF CONTRAST 


The concentric circles, drawn at uniform dis- 
tances between the central orb of white and the 
circumference, allude to the formation of tints of 
the colours and hues by the addition of white in 
different proportions ; as expressed, along the line 
from the blue-purple orb, by the series of numerals. 
The numerals above the line indicate the parts of 
the colour; while the numerals below indicate the 
relative parts of white required to produce the 
several gradated tints between the full colour and 
white. This system of gradation is of assistance 
in determining the contrast of tints; but it more 
directly belongs to the Harmonies of Analogy, 
under which it is specially alluded to. It must 
be understood, however, that the number of tints 
perceptible to the eye are many more than those 
implied by the few divisions indicated in the 
Diagram ; but such refinement is not of any prac- 
tical value; indeed, only three or four tints, dis- 
tinctly defined, of any colour need be taken into 
consideration in articles of dress. If the perfect 
balance of contrast of any tint of a colour is desired, 
the contrasting tint must present the same pro- 
portion of white in its formation; but the con- 
trast may be made more decided by selecting a 
proportionately lighter contrasting tint, and the 
nearer it approaches white the more marked will 
the contrast be. The greatest contrast in the 


27 


a a‘ wees i 7 ne * + » 
oe De Sade a 
ve ar - b [tat 


COLOUR IN DRESS 


whole range of colouring lies between black and 
white. . 

We may add to what has been already said of 
the three primary colours, that yellow is the most 
advancing, nearest in its relation to white, and — 
possessing the greatest power of reflecting light: it 
imparts brilliancy, in a greater or less degree, to 
every compound into which it enters. Red is the 
intermediate of the primaries, occupying the middle 
position between yellow and blue; and, in colour . 
value, the same position with respect to darkness 
and light, represented by black and white. It 
occupies the most exalted position among colours, 
being the most positive of all. It is the repre- 
sentative of warmth, which it imparts to all hues 
into which it enters. Blue is the most retiring of 
the primaries, bearing the same relation to darkness 
that yellow does to light. It is the representative 
of coldness, imparting that property in various 
degrees to every colour or hue into the com-_ 
position of which it enters. While it is powerful 
in strong daylight, it appears neutral and weak in 
declining light, and dull and somewhat altered in 
colour in artificial light ; this is owing to its affinity 
with shade, and its power of absorbing light... Of 
all colours, except black, it contrasts white most 
powerfully. “In all harmonious combinations of 
colours, whether of mixture or neighbourhood, blue 

28 


HARMONY OF CONTRAST 


is the natural, prime, or predominating power ; 
accordingly, blue is in colouring what the note C 
is in music—the natural key, archeus or ruling 
tone, universally agreeable to the eye, when in due 
relation to the composition.” 

Of the secondary colours the following may be 
said :—Green occupies a middle position in the full 
natural series of all the colours, being composed of 
the primaries, yellow and blue. Its relations and 
accordances are more general, and it contrasts more 
agreeably with all colours than any other colour. 
“In its tones green is cool or warm, sedate or gay, 
either as it inclines to blue or yellow; yet it is in 
its general effects cool, calm, temperate, and re- 
freshing ; and, having little power in reflecting 
light, is a retiring colour. As a colour individually, 
green is eminently beautiful and agreeable, but it 
is more particularly so when contrasted with its 
compensating colour, red; and they are the most 
generally attractive of-all colours in this respect.” 
Orange is the most advancing of the secondaries, 
being in all its hues composed of yellow and red. 
It is, accordingly, a warm colour, equal in its con- 
trast to blue, the coldest of all colours. As orange 
may be considered the most powerful of all colours, 
it should be employed very sparingly in the adorn- 
ment of articles of dress. In a tempered condition, 
approaching old gold in effect, it becomes more 


29 


COLOUR IN DRESS 


refined and useful. It has a great variety of hues, 
bounded in its approach to red by scarlet, and in 
its approach to its other constituent by a pale 
orange-yellow. Purple is the darkest of the 
secondaries, bearing the nearest relation to black 
or shade, as its contrasting colour—yellow—does 
to white or light. It is a retiring colour; and 
although red enters largely into its composition, it 
cannot, except in its redder hues, be classed as a 
positively warm colour. Blue is its archeus or 
ruling colour, hence it reflects light but slightly, 
and it loses power rapidly in declining light; in 
artificial light of a yellow character, such as gas or 
candle-light, it appears of an indeterminate brown 
hue. Next to green, purple may be considered 
per se the most pleasing of the consonant colours; 
and has almost universally been looked upon as a 
royal or imperial colour. It is highly probable that 
the renowned Tyrian purple approached a crimson — 
or red hue, rather than the deep and subdued colour 
now recognized by the term purple. Purple, like 
all the compound colours, has numerous well- 
marked hues, bounded in its approach to red by 
crimson, which lies between red and red-red-purple 
in the Diagram A, and in its approach to blue by 
indigo, which, in like manner, lies between blue 
and blue-blue-purple. Notwithstanding its regal 
character, purple is neither a pleasing nor a 
s0 


DIAGRAM B.—INDICATING THE SECONDARY AND TERTIARY COLOURS WITH THEIR 
HUES AND CONTRASTS. 


aime ey cent 


HARMONY OF CONTRAST 


suitable colour for ordinary dress: of all colours 
it is most injurious to the complexion ; and ladies 
should note this fact as specially important in day 


costume. 


Up to the present we have confined our remarks 
to the three pure or primary colours, and those 
which are compounded of any two of them; now 


we have to direct attention to those compound 


colours or hues, into the composition of which all 
the three primaries enter in varying proportions. 
The principal triad of these, designated the tertiary 
triad, is composed of three colours, each of which is 
formed by the admixture of two of the secondary 
colours. To make the following remarks perfectly 
clear, we give the accompanying Diagram B, show- 
ing the relation of the tertiary to the secondary 
colours, and their attendant compounds. The names 
by which the tertiaries are commonly known are 
citrine, russet, and olive. 

Citrine is the most advancing of the tertiary 
colours, being formed by the combination of orange 
and green. It is, accordingly, a mixture of the 
three primaries, in which yellow is the archeus or 
predominating colour, blue exerting the least effect 
in the combination: hence the term, yellow-hue, 
applied to this tertiary. ‘There are various hues of 
citrine, as may be understood by reference to the 
Diagram ; most of which are suitable in dress, being 


31 


COLOUR IN DRESS 


of a tender, tepid, modest, and refined character. 
The harmonious contrasts of citrine are hues of 
deep purple. 
* Russet is formed by the combination of orange 
and purple, its archeus being red which effectively 
dominates the primaries blue and yellow. Orange 
and purple having red as constituent parts, that 
colour enters doubly into the composition of russet, 
while blue and yellow enter it singly. Russet is, 
accordingly, designated the red hue. The hues of 
this tertiary are very seemly and valuable in dress ; 
being in their effects and expression warm, com- 
forting, solid, and cheering. The harmonising 
contrasts of russet are hues of deep green, except 
when it leans decidedly toward orange it calls for 
a subdued blue hue inclining to gray. Field 
properly remarks: “Russet takes the relations 
and powers of a subdued red; and many dyes 
of the latter denomination are in strictness of the 
class of russet colours: in fact nominal distinction 
of colours is properly only relative; the gradation 
from hue to hue, as from shade to shade, consti- 
tuting an unlimited series, in which it is literally 
impossible to pronounce absolutely where any 
shade or colour ends and another begins; but 
which is capable nevertheless of being arbitrarily 
divided to infinity.” 

Olive, which is composed of the secondaries 

32 


HARMONY OF CONTRAST 


purple and green, has for its archeus the primary 
blue, which is a constituent of both the secondaries 
named. Olive is, accordingly, the tertiary nearest - 
to shade, standing in relation to its co-tertiaries as 
purple does in the secondary, and blue in the 
primary colours. Like the other tertiaries olive 
admits of a practically endless variety of hues, tints, 
and shades, all of which are singularly quiet, re- 
tiring, and refined, and many are serviceable, and 
highly suitable in dress. The harmonious contrast 
of olive is a deep orange. Its importance in 
Nature, as Field says, “is almost as great as that | 
of black: it divides the office of clothing and 
decorating the general face of Nature with green 
and blue; with both which, as with black and 


gray, it enters into innumerable compounds and 


accordances, changing its name, as either hue pre- 
dominates, into green, gray, ashen, slate, etc. : thus 
the olive hues of foliage are called green, and the 
purple hues of clouds are called gray, etc., for 
language is general only, and inadequate to the 
infinite particularity of nature. This infinity, or 
endless variation of tint, hue, and relation, of which 
the tertiaries are susceptible, and which actually 
occur in nature, give a boundless license to the 
revelry of taste.” 

Of the three semi-neutral colours or hues, 
which are of a still lower order than the tertiaries, 


33 1 


COLOUR IN DRESS 


from the combination of which they are bininied 
by some authorities to originate, very little need 
be said here, for their use in dress is well known 
to everyone. The first and the one most commonly 
used. is brown, supposed, in its normal hue, to be 
formed by the mixture of citrine and olive. Brown, 
however, in its several recognised and pleasing hues 
and shades, requires black for its basis, to which 
other colours are added producing what are known 
as red-brown, orange-brown, purple-brown, and 
yellow-brown. Brown is a retiring and sedate 
colour, but in no manner dismal or depressing in 
its effects. Strength, comfort, warmth, and rusticity 
are its chief expressions. Field argues, perhaps 
with good judgment, that the term, brown, should 
be confined “to the class of semi-neutral colours, 
compounded of, or of the hues of, either the primary 
yellow, the secondary orange, or the tertiary citrine, 
with a black pigment; the general contrast or 
harmonising colour of which will consequently be 
more or less purple or blue.” 

Maroon is another semi-neutral.colour or hue, 
supposed to be formed by the mixture of the 
tertiaries russet and olive, but it seems to require 
more red in its composition. The most useful 
maroon is a combination of red and brown, the 
former predominating: such being the case its 
contrasts are, of necessity, shades of green. | 


34 


HARMONY OF CONTRAST 


Gray is one of the most valuable, if not the 
most valuable of the semi-neutral colours. In its 
numerous hues, shades, and tints it is always a 
refined and agreeable colour in articles of dress. 
In addition to the neutral gray, which is simply 
compounded of neutral white and black in various 
proportions, we have blue-grays, purple-grays, olive- 
grays, green-grays, and, indeed, of an infinite series 
of hues in which blue enters. The grays being 
cold colours are the natural contrasts of the warm 
semi-neutral browns. 

While black is the most pronounced and perfect 
- contrast to white, all dark colours are similarly 
contrasts to white, markedly so in proportion as 
their shades approach black. Pure or primary blue 
is an effective and pleasing contrast to white ; 
purple and violet naturally following in the order 
of the depth of their tones. The primary red is 
also a contrast to white, but much less pronounced 
than the full tones of blue and purple. Deep 
shades of red, however, as they approach red-brown 
gain force as contrasts. Crimson, owing to the 
blue it contains is a more effective contrast than 
pure red. 

Shades and tints of any one full colour, such as 
blue, purple, red, or green, if sufficiently removed 
from each other in the correct scale, are also con- 
trasts: of course the farther the shade leaves the 


35 


COLOUR IN DRESS 


pure or normal colour, and the nearer the tint 
approaches white, the greater will the contrast be. 
When two or more tones of the same colour, which 
are somewhat close in the scale, are associated, while 
contrast may still obtain in a modified condition, the 
effect to the eye is likely to be that of a harmony 
of analogy : one, perhaps, much more pleasing and 
refined than a mbre pronounced harmony of 
contrast. | 


CONTRASTS OF COLOUR AFFECTED BY ARTIFICIAL 
LIGHT 


To the eye, all colours undergo a change, to a 
greater or lesser degree, when viewed by artificial 
light ; and this fact should be fully recognised by 
all who select coloured fabrics for evening dress. 
Every lady, before deciding on a colour for evening 
wear, which may appear in every way suitable 
and effective by daylight, should carefully test its 
appearance and note the change it undergoes when 
seen by the description of artificial light under 
which it is likely to be worn. Much disappointment 
would be done away with were such precautions 
generally taken. There are some colours which do 
not seem seriously injured by artificial light, while 
there are others which are changed to a very objec- 
tionable extent, so much so as to lose all their true 
hues and beauty: this is notably the case with 

3605 


FE res 
PA ns: 


Pek eae 


HARMONY OF CONTRAST 


purples and violets, which in gas-light appear 
indeterminable browns.* Other deep hues are 
similarly modified, though not always to the same 
serious extent. It is correct to say that no colours 
that are satisfactory by daylight for articles of dress 
are improved under artificial lighting; but those 
which can receive yellow without leaving their 
scales suffer the least, as a general rule. 

The selection of a single colour is a matter of 
sufficient importance to call for care ; but the selec- 
tion of two or more contrasting colours becomes a 
positive problem that can only be solved by severe 
testing under artificial light. In the generality of 
cases, the contrasting colours will be widely apart 
in their respective scales; and, accordingly, the 
artificial light will affect them differently, and 
in all likelihood will destroy their perfect har- 
monious relationship. 

As it will be necessary for every one who aims 


“at refinement and artistic effect in evening dress to 


follow the advice given above, it is unnecessary for 


* An instance of this came under our observation some 


“years ago. A braid was required to trim a brown dress 


fabric ; and what was thought to be a good match was made 
by gas-light. Next morning, to the surprise and disappoint- 
ment of the purchaser, the braid was discovered to be a 
decided purple. The gas-light had changed the hue of the 
brown in one direction, and the purple in another, bringing 
them close together in appearance. 


SF 


COLOUR IN DRESS 


more than a few general remarks to be added 
here. 

Under ordinary gas-, lamp-, or candle-light, which 
is of a yellow tint, yellow is brightened ; orange is 
lightened and brightened; red is lightened and 
inclined toward scarlet ; crimson is made redder ; 
green is made yellower ; blue is darkened and ren- 
dered less pure; purple is almost destroyed; and 
brown is made warmer in hue. | 

Under incandescent gas-light (inverted mantle), 
yellow is brightened ; orange is lightened consider- 
ably; red is lightened several tints; crimson is 
much brightened; green is modified toward the 
yellow scale ; blue is much darkened and injured ; 
purple is considerably injured in hue; and brown 
is deepened and warmed. 

Under electric light (metallic filament lamp), 
yellow is brightened; orange is enriched ; red is 
lightened and brightened; crimson is enriched 
toward red ; green is darkened and made yellower ; 
blue is inclined to violet; purple is injured; and 
brown is lightened and made redder in hue. 

The effects under artificial lighting just noted 
are those produced on pure colours and hues of full 
strength ; but it must be borne in mind that both 


the tints and shades of these colours are differently 


affected—shades undergoing a greater modification, 
as a general rule, than the lighter tints. All shades 
38 


‘ 


HARMONY OF ANALOGY 


and tints of hues between normal purple and 
primary blue are especially and seriously altered. 
All blues suffer considerably. 

We again advise every one selecting coloured 
fabrics for evening dress to carefully examine and 
test samples of the same under the conditions 
which will obtain when the dress is worn. 


HARMONY OF ANALOGY 


Valuable and effective as are the Harmonies of 
Contrast in costume, they are neither so generally 
useful nor so refined and reposeful as are the Har- 
monies of Analogy. This is due to the fact that in 
all contrasts the colours are far removed from each 
other, either in different scales or in different tones 
(shades and tints) of the same colour ; while in har- 
monies of analogy the colours lie closely together 
in character and power, producing a quieter and 
softer effect to the eye. 

There are two principal harmonies of analogy, 
namely, the Harmony of Scale, produced by the 
association of two or more different tones of the 
same colour scale, more or less closely approximat- 
ing, and the Harmony of Hues, produced by the 
association of tones, of, or about, the same value, 
belonging to closely allied scales. 

In the production of a Harmony of Scale, by 


oo 


COLOUR IN DRESS 


associating tones of the same colour or hue, it is 
necessary to select two or more tones that are not 
sufficiently wide apart to create in the eye the effect 
of a decided contrast. At the same time, it is not 
desirable to have the tones so close together as to © 
produce an indistinct effect; or that when viewed, 
in an article of dress, at a short distance they will 
seem to merge into an indeterminate tone. 

There are harmonies of tints and harmonies of 
shades, in neither of which the pure or normal colour _ 
of the scale need be present. On the other hand, 
the harmonies of both shades and tints may be 
founded on, and include, the pure or normal colour 
of the scale. In one case darkening, and in the other 
case lightening, from the prime or foundation colour. 
When a subdued effect is desired, harmonies of 
shades should be adopted, and when a lively effect 
is required, harmonies of tints will have to be 
resorted to. Harmony of scale is, as a general 
rule, better understood and more successfully em- 
ployed in the association of different fabrics in 
articles of dress, accordingly it only requires to be 
briefly dwelt upon. The scale of any colour or 
hue obtains only in its passage toward white in 
gradated tints, and, in the opposite direction, in 
its passage toward black in gradated shades; the 
pure or normal colour being considered the prime 
or foundation colour of the scale. In Diagram A, 

AO 


HARMONY OF ANALOGY 


in which are indigated the primary colours 
and their harmonious contrasts, nine concentric, 
circular lines are drawn between the central orb, 
marked WHITE, and the outer circular line carrying 
the numerous orbs representing the primary and 
secondary colours, and their principal hues. The 
inner circular lines or rings indicate the tints of the 
several colours lightened by the addition of different 
proportions of white, or its representative—light. 
Along the line radiating from the central orb to 
that marked B P are two series of numerals ; that 
above the line indicating the proportions of the 
colour, and that under the line indicating, in like 
manner, the proportions of white added to produce 
the nine gradated tints of blue-purple. Now, if two 
or more of the contiguous tints are taken and 
associated in any manner,a harmony of analogy will 
be the result : or, if the normal colour be associated 
with any of its near tints, say up to that in which 
an equal portion of B P and white (2) enter, a per- 
fect harmony of analogy will result. But if the 
normal colour be associated with a lighter tint, 
say, that in which the proportions of B P two 
parts and white eight parts (2) enter, the harmony 
will practically be one of contrast, being too pro- 
nounced to appear of an analogous character. All 
the colours and hues indicated by the numerous 
orbs around the outer circle are subject to the same 


AI 


‘COLOUR IN DRESS 


effects in harmonies of analogy as those mentioned 


in regard to the blue-purple hue. In the case — 


of the primary yellow, which is itself the represen- 
tative of light among colours, the harmonies of 
analogy, so far as its tints are concerned, are 


essentially weak and ineffective ; and a harmony of - 


contrast. can hardly be said to exist. Similar 


remarks apply to the hues bordering on the 


primary yellow. 
If one will now imagine a series of concentric 
circles, drawn at equal intervals outside the present 


orb-bearing circle, each one indicating a mixture of 


a pure or normal colour with black in a certain — 


proportion (similar to the manner of its mixture 
with white as described above), a gradated series of 
shades of the pure or normal colours, represented by 


the several orbs, will be indicated. Such shades, — 


which are darker than the prime or foundation 


colour of the scale, will afford many additional — 


harmonies of scale—both in analogy and contrast. 
The harmonies of analogy will lie chiefly between 
the prime colour of the scale and its shades. While 
between the shades and tints very forcible contrasts 
may be formed, for a greater distance can obtain 
between a shade anda tint than is possible between 
a prime colour and either a shade or tint derived 
from it. : 
The shades produced by lowering the tone of 
42 


HARMONY OF ANALOGY 


yellow by the admixture of black very largely in- 
crease its harmonies of scale. They afford some 
effective harmonies of analogy, while they render 
harmonies of contrast of scale, between them and 
the series of tints, to a considerable extent possible. 
Such contrasts, more or less quiet and refined in 
their character, can be made considerable use of in 
dress. The admixture of primary yellow and black 
produces shades having an indeterminate greenish 
hue. | 

_ We have now to direct the attention of those 
interested in artistic colouring in dress to the 
Harmony of Hue, which is of equal importance, 
in the harmony of analogy, to that of scale. The 
harmony of hue can be readily understood and 
determined by reference to the first Diagram A. 
While the harmonies of scale lie between any of 
the orbs representing colours and the central 
orb representing white, as described above ; the 


' harmonies of hue are determined from any colour 


by reading from it along the circles toward con- 
tiguous hues. Starting from blue, for example, © 
harmonies of analogy exist between it, toward the 
red scale, and the blue-purple hue, and toward the 


| _ yellow scale as far as the blue-green hue. Beyond 


these hues, harmonies of analogy give way to 
rapidly increasing harmonies of contrast. In select- 
ing harmonies of analogy, it is neither necessary nor 


43. 


COLOUR IN DRESS 


always desirable to take the hues along the same 
circle ; for the value of a slight difference in tint 
or shade is generally very effective. Hues of the 
same intensity (that are analagous), being equally 


balanced to the eye, usually produce a poor effect. 


_ In adopting harmonies of analogy for articles of 
dress, it is always desirable to have one colour or 
hue greatly in excess of the one selected to har- 
monise with it : the former obtaining in the general 
material of the dress, and the latter in the trimmings 
or subordinate features. This rule is of general 
application in both harmonies of scale and hue. 


All the foregoing remarks are equally applicable 


to our second Diagram B, in which the secondary 
and tertiary colours are arranged. 


LIST OF COLOUR HARMONIES. 


Blue and orange, a perfect harmony. 

Blue and gold (or gold colour), a rich harmony. 
Blue and maise harmonise. 

Blue and straw-colour harmonise. 

Blue and salmon-colour, an agreeable harmony. 
Blue and crimson harmonise, but imperfectly. 
Blue and pink, a poor harmony. 

Blue and lilac, a weak harmony. 

Blue and drab harmonise. 

Blue and stone-colour harmonise. 

Blue and fawn-colour, a weak harmony. 

Blue and gray, a cold harmony. 

Blue and chestnut (or chocolate) harmonise, 
Blue and brown, an agreeable harmony. 


44 


‘es : => = 
wage Ste adel 
elle 


HARMONY OF COLOUR 


Blue and white harmonise. 

Blue and black, a dull harmony. 

Blue, orange, and black harmonise. 

Blue, scarlet, and purple (or lilac) harmonise. 

Blue, orange, and black harmonise. 

Blue, orange, and green harmonise. 

Blue, brown, crimson, and gold (or yellow) harmonise. 
Blue, orange, black, and white harmonise. 


Red and green, a perfect harmony. 

Red and gold (or gold-colour), a bright harmony, 
Red and blue, a dull harmony. 

Red and gray harmonise. 

Red and white harmonise. 

Red, yellow, and black harmonise. 

Red, gold-colour, black, and white harmonise. 


Scarlet and blue-green harmonise. 

Scarlet and blue harmonise. 

Scarlet and purple (or lilac) harmonise. 
Scarlet and violet harmonise. 

Scarlet and slate-colour harmonise. 
Scarlet, blue, and white harmonise. 
Scarlet, black, and white harmonise. 
Scarlet, blue, and gray harmonise. 

Scarlet, blue, black, and yellow harmonise. 


Crimson and yellow-green harmonise. 

Crimson and tones of itself harmonise. 

Crimson and gold (or gold-colour), a rich harmony. 
Crimson and orange, a rich harmony.. 

Crimson and maise harmonise. 

Crimson and purple, a deep harmony. 

Crimson and drab harmonise. 

Crimson and brown, a dull harmony. 

Crimson and black, a sombre harmony. 


Yellow and purple, a perfect harmony. 
Yellow and blue harmonise, 


45 


COLOUR IN DRESS 


Yellow and violet harmonise. 

Yellow and deep crimson harmonise. 

- Yellow and lilac, a weak harmony. 

Yellow and chestnut (or chocolate) harmonise. | 
Yellow and brown harmonise. | 
Yellow and black, a pronounced harmony. | 
Yellow and white, a weak harmony. 

Yellow, purple, scarlet, and blue harmonise. 


Green and red, a perfect harmony. 

Green and scarlet harmonise. 

Green and russet harmonise. 

Green (blue-) and orange harmonise. 

Green (deep-) and gold (or gold-colour) harmonise. 

Green and black, a dull harmony. «4 
Green and white: a cold harmony. 
Green, scarlet, and blue harmonise. 

Green, crimson, blue, and gold harmonise. 


Orange and blue, a perfect harmony. 

Orange and olive harmonise. 

Orange and violet harmonise. 

Orange and chestnut harmonise. 

Orange and deep-brown harmonise. 

Orange, crimson, and green harmonise., 

Orange, crimson, and blue harmonise. 

Orange, purple, and scarlet harmonise. 

Orange, blue, scarlet, and green harmonise. 
Orange, violet, scarlet, white and green harmonise. 


Purple and yellow, a perfect harmony. 

Purple and citrine harmonise. 

Purple and gold (or gold-colour), a rich harmony. 
Purple and maize harmonise. 

Purple and tones of itself harmonise. 

Purple and black, a heavy harmony. 

Purple and white, a cold harmony. 

Purple, scarlet, and gold-colour harmonise. 
Purple, scarlet, and white harmonise. 


46 


HARMONY OF COLOUR 


Purple, scarlet, blue, and orange harmonise. 
Purple, scarlet, blue, yellow, and black harmonise. 


Lilac and deep gold-colour harmonise. 
Lilac and primrose harmonise. 

Lilac and maize harmonise. 

Lilac and cerise harmonise. 

Lilac and crimson harmonise. 

Lilac and gray, a weak harmony. 

Lilac and white, a cold harmony. 

Lilac and black, a dull harmony. 

Lilac, crimson, and gold-colour harmonise. 


Violet and gold (or gold-colour), a rich harmony. 
‘Violet and orange-yellow, a rich harmony. 
Violet and maize, a vivid harmony. — 

Violet and tones of itself harmonise. 


White and orange harmonise. 

White and scarlet harmonise. 

White and cerise harmonise. 

' White and pink harmonise. 

White and brown harmonise. 

White, red, and blue harmonise. 

White, scarlet, and blue-green harmonise. 


Black and white, a perfect harmony. 
Black and gold (or gold-colour), a fine harmony. 
Black and orange, a rich harmony. 
Black and maize harmonise. 

Black and primrose harmonise. 
Black and salmon-colour harmonise. 
Black and pink harmonise. 

Black and scarlet harmonise. 

Black and cerise harmonise. 
‘Black and yellow-green harmonise. 
Black and drab harmonise. 

Black and fawn harmonise, 

Black and buff harmonise. 


47 


COLOUR IN DRESS 


Black and slate-colour, a subdued harmony. 
Black and gray, a quiet harmony. 

Black and olive, a dull harmony. 

Black and citrine, a quiet harmony. 

Black, scarlet, and blue-green harmonise. 
Black, crimson, and lemon-colour harmonise. 
Black, crimson, and yellow-green harmonise. 


Further harmonies can be determined by the 
proper use of the Diagrams A and B. 


48 


SIMULTANEOUS CONTRAST 
OF COLOUR 


“ Colour, in association with other colours, is different 
from the same colour by itself. It has a distinct and 
peculiar power upon the retina dependent on us associa- 
tion: consequently, the colour of any object is not more 
dependent upon the nature of the object itself, and the eye 
beholding it, than on the colour of the objects near it.” 


RUSKIN. 


CHAPTER III 


SIMULTANEOUS CONTRAST OF COLOUR 


KiAMHE phenomena attending the Simul- 
taneous Contrast of Colours which 
are placed in juxtaposition, or other- 
wise closely associated, are of the 
greatest importance to every lady 
who desires to dress tastefully, and with due re- 
gard to the effect of colours on her distinctive 
complexion, hair, and eyes, 

In close relationship to, and, indeed, inseparable 
from, simultaneous. contrast, is Successive Contrast 
of Colour; the special phenomena attending which 
are also of great importance. 

Confining our remarks for the present to 
simultaneous contrast, it may be stated to depend 
upon a very simple law, based on careful observa- 
tion and experiment. This law, as formulated by 


Chevreul, is as follows : 
In the case where the eye sees at the same 


51 


COLOUR IN DRESS 


time two contiguous colours, they will appear as 
dissimilar as possible, both in their optical com- 
position and in the height of their tone. 
According to this law we observe, at the same 
instant, simultaneous contrast of hue and contrast 
of tone; the former modifying the hues of the 
colours, and the latter modifying their intensity. 


SIMULTANEOUS CONTRAST OF HUE.—It has 
been proved, by careful observation and experi- 
ment, that if two strips of stained paper or dyed 
textile fabric of different colours be placed in 
juxtaposition, and attentively and simultanéously 
viewed for a few seconds, both will appear to 
undergo a certain modification of hue. To realize 
the effect alluded to to the best advantage, both 
the colours should be as nearly as possible of equal 
intensity, or hold about similar positions in their 
respective scales. The phenomenon is due to the 
action of the colours on the optié nerves, generating 
therein the sensation or impression of their com- 
pensating or complementary colours. The phe- 
nomenon is more apparent to some eyes than 
others, and is, naturally, more pronounced with 
some associated colours than with others. 

If a strip of primary red is placed in juxta- 
position to a corresponding strip of the primary 
blue, the red will appear to incline to the orange 


52 


SIMULTANEOUS CONTRAST 


scale, assuming to the eye a scarlet hue; this is 
caused by orange—the complementary of blue— 
being cast over, so to speak, the red colour. The blue 
will, in like manner, incline to the green scale, by 
the complementary of red—green—being cast over it. 

The following list of a few associated colours, 
accompanied by the modifications caused by simul- 
taneous contrast, will afford hints to ladies in- 
terested in artistic colouring in dress. 


COLOURS MODIFIED BY SIMULTANEOUS 
CONTRAST. 


CoLours IN JUXTAPOSITION. MopiFicaTions BY ConTRAsi. 


ee . - + Inclines to the Yellow scale. 

Purple. . Gs Olive scale. 

fate 5 eats 3 Purple scale. 
Yellow. . “a Green scale. 

ee ae a Purple scale. 
Orange. . ty Yellow-green scale. 

oe ee. _ Orange scale. 
Green .. ‘o Blue scale. 

hhtagy gee - Orange scale. 
Bee . es Indigo scale. 


Scarlet scale. 
Blue scale. 


Orange... 3 
Green . . es 


Yellow scale. 


Purple . 


Green 


Purple . 


Blue . 


Purple .- 


eaiaa 3 * 


Violet scale. 


Yellow scale. 
Crimson scale. 


Green scale. 
Crimson scale. 


COLOUR IN DRESS 


None of the examples given in the above list 
present a combination of a primary or other colour 
with its complementary or perfect contrast. In the 
combinations of complementary colours it is much 
less easy to readily observe the effects of simul- 
taneous contrast: and it is largely on account of 
this fact that such combinations are agreeable to 
the eye. As each of the two contrasting colours 
reflects its complementary colour, which is the colour 
of its associate, the effect is chiefly a mutual aug- 
mentation of their true hues, more or less apparent 
as they are pure. On this subject, Chevreul says: 
“But do we know, at the present day, of two 
coloured bodies which are capable of exhibiting to 
the eye two perfectly pure colours, complementary 
to each other? Certainly not! All those substances 
which appear coloured by reflection, reflect besides" 
white light, a great number. of differently coloured 
rays. Therefore we cannot instance a red colour 
and a green, or an orange colour and a blue, or an 


orange-yellow colour and a violet, which reflect : 


simple or compound colours absolutely comple- 
mentary to each other, so that their juxtaposition 
would produce a simple augmentation of intensity 
in their respective colours. If, therefore, it be 
generally less easy to verify the law of contrast 
with red and green, or orange and blue substances, 
etc.” than it is with those which are not comple- 


54 


SIMULTANEOUS CONTRAST 


mentary, as in the list given above, “yet, in en- 
deavouring: to verify the first, we shall see that the 
colours will acquire a most remarkable brilliancy, 
strength, and purity.” 

The results of careful and extended experiment 
and trained observation given above should be 
borne in mind while selecting fabrics of comple-. 
mentary colours for articles of dress. When extreme 
strength and brilliancy of effect are undesirable, 
care should be taken to select complementary 
colours which are not in themselves too bright in 
‘tint, allowance being made for their inevitable 
increase of brilliancy and richness, when associated, 
by simultaneous contrast. 

_ We may conclude this branch of our subject by 
directing attention to simple experiments which 
demonstrate the law of Successive Contrast, and 
the effects on the eye, produced by pure or normal 
colours on contiguous white or light grounds. 

If a small disc of coloured cloth or paper is laid 
on a sheet of white paper, and the eyes are fixed 
upon it for a short time, a faint-coloured border 
will seem to: surround the disc, gradually fading 
away into the white ground. This border will 
invariably be the complementary colour of that of 
the disc, more or less visually distinct and pure. 
Accordingly, if the disc is red, the bordering will 
appear of green tint; if it is of orange-yellow, the 


oe 


COLOUR IN DRESS 


bordering will be of a blue tint ; and if it is of blue, 
the bordering will be of a faint reddish-orange hue. 
If a black disc is used, the ground immediately 
adjoming it will appear a vivid white. Continuing 
this experiment: If, after having observed these 
phenomena for a considerable time, we immediately 
direct our eyes to the white ground in such a 
manner as to no longer see the coloured disc, we 
shall then perceive a disc of an equal size, and of 
the same colour as that which bordered the coloured 
disc, very clearly defined on the white ground; 
this impression will gradually fade away as the 
eyes assume their normal condition. 

The following facts, which were communicated 
to Chevreul by dealers in coloured fabrics, cannot 
fail to be of considerable interest to ladies pur- 
chasing materials. 

First Fact.—When a purchaser has for a con- 
siderable time looked at yellow fabrics, and he is 
then shown orange or scarlet stuffs, it is found that 
he takes them to be amaranth-red, or crimson, for 
there is a tendency in the retina, excited by yellow, 
to acquire an aptitude to see violet, accordingly all 
the yellow of the scarlet or orange stuffs apparently 
disappears, and the eye sees red, or a red tinged 
with violet. 

Second Fact.—If there is presented to a buyer, 
one after another, fourteen pieces of red stuff, he 

56 


SIMULTANEOUS CONTRAST 


will consider the last six or seven less beautiful 
than those first seen, although they may be identi- 
cally the same. What is the cause of this error of 
judgment? It is that the eyes, having seen seven 
or eight red pieces in succession, are in the same 
condition as if they had regarded fixedly during 
the same period of time a single piece of red stuff; 
they have then a tendency to see the complementary 
of red, that is to say, green. This tendency goes 
of necessity to enfeeble the brilliancy of the red of 
the pieces seen later. In order that the merchant 
may not be the sufferer by this fatigue of the eyes 
of the customer, he must take care, after having 
shown the latter seven pieces of red, to present to 
him some pieces of green stuff, to restore the eyes 
to their normal state. If the sight of the green be 
sufficiently prolonged to exceed the normal state, 
the eyes will acquire a tendency to see red; then 
the last seven red pieces will appear more beautiful 
than the others. 

The lesson a lady may learn from these facts, 
known to every manufacturer and dealer in coloured 
fabrics, is that it is desirable, when she is purchasing 
a richly-coloured material for some special purpose 
in dress, to request the merchant to lay on the 
counter a piece of similar cloth of as near the com- 
. plententary colour as he can produce. With this 
within simultaneous view, the lady can readily 


57 


ve nt ey = eee, * je) Swe 
eS 
1°” 164) AE eae 4 w 


COLOUR IN DRESS 


balance or refresh her vision, and be able to make | 4 
her selection of such a colour as she requires with ! 
perfect assurance that her judgment is correct. 
When a lady has decided on the colour of the fabric 
she desires to purchase, she can. readily find its 
complementary colour in our Diagrams of the _ 
Primary, Secondary, and Tertiary Colours, given. 
in the preceding Chapter. 


SIMULTANEOUS CONTRAST OF TONE.—While 
the phenomena attending the simultaneous con- | 
trast of tone are not of so assertive a character 
as those described in connection with the simul- __ 
taneous contrast of hue, yet they are not without — 
importance and considerable effect in matters of 
dress, with special relation to the juxtaposition of q 
colours with the tints or hues of the several : 
varieties of complexion. | io 

The effects produced by the simultaneous con- 
trast of tone are very simple; and may be de- 
' scribed as the modifications of depth or intensity of 
tone caused by the juxtaposition of dark and light 
colours belonging to different scales, or shades and 
tints belonging to the same scale. Such colours 

mutually affect each other to this extent that the 
lighter colour appears still lighter in tint, and the | 
darker colour appears deeper in shade than they 
seem to the eye when viewed at a distance from 

58 7 


SIMULTANEOUS CONTRAST 


each other. To prove this by a simple experiment: 
take two strips of paper, coated with grays of two 
widely different tones, and place them side by side, 
so as to touch each other; also take two strips of 
the same grays, and place them widely apart, so 
that they can have no effect on each other A 
ground of some light, dull hue, such as that of 
brown-holland or paper of a similar hue, should be 
used to fix the strips upon, and the grays should be 
prepared with whiting and lamp-black mixed with 
weak gum-water. On viewing, in a bright light, 
the pieces in juxtaposition, the darker piece will 
appear deeper in tone, and the lighter piece brighter 
and lighter, than the corresponding pieces will seem 
when viewed alone and distant from each other. 
We have selected neutral gray in preference to 
positive colours, because it does not create comple- 
mentary colours in the eye. Of course, when any 
two colours are viewed in a similar manner, the 
effects of both simultaneous contrast of hues and 
simultaneous contrast of tones will be present to 
the eye in full force. 

In concluding our brief remarks on the phenom- 
ena set forth in the present Chapter, we desire to 
impress on those who aim at proper effects and 
perfect taste in dress, both as regards the influence 
of colour upon colour, and of colours upon the com- 
plexion, eyes, and hair, the absolute necessity of 

59 


COLOUR IN DRESS 


recognising the influence of both the simultaneous 
contrast of hues and the ‘simultaneous contrast 
of tones: they. are much more potent in their 
optical effects than is commonly realised or 
understood. | 


60 


COLOUR IN DRESS 


t ‘ 


CHAPTER IV 


COLOUR IN DRESS 


“Colouring is the sunshine of the art that clothes poverty in 
smiles, and renders the prospect of barrenness itself agreeable ; 
while it heightens the interest and doubles the charms of beauty,””— 
Opir’s LECT. Iv., 136. 


[P= ee ; HIS Chapter is devoted to practical 
NPS, ~. hints and advice respecting the 
LAT I colours which are to be wisely 

selected, and those which are to be 
_ avoided as much as possible, in 
articles of dress, by ladies of different complexions. 

Much of personal beauty, refinement, and 
elegance is sacrificed by the unwise selection and 
association of colours in dress ; while an augmen- 
tation of the natural charms may easily be secured 
by the artistic application and grouping of harmo- 
nising tints. 

In the preceding Chapters we have treated 
on the harmony and proper grouping of colours, 
63 


COLOUR IN DRESS 

according to the teaching of the natural phenomena 
of colour ; in the present we practically confine our- 
selves to the consideration of the direct association 
of the various colours, fashionable or otherwise, with 
the tints of the complexion ; explaining the several 
effects which, through natural laws, they unfailingly i 
exercise. ) 

The subject here ventured upon is necessarily 
_ of great interest, and professedly a difficult one. It 
is also a subject on which many conflicting opinions 
obtain; few of which, it may be remarked, are 
based on scientific knowledge or the observation 
of the natural phenomena connected with colour _ 
harmonies. | | 

We shall endeavour to treat the subject with all 
the care it deserves ; and, perhaps, more than half 
a century of study, and a considerable experience 
relative to the powers and harmonious arrange- 
ments of colours in decorative art, may lead us to 
hope that what will be stated in the present Chapter 
will neither be uninteresting to, nor undeserving of 
careful consideration by, those interested in refined 
and artistic costume. 

As in all branches of art in which colour is 


employed, so in matters of dress there exist laws 


which regulate, or should regulate its combinations. 
Every lady must be aware that very much, if 

not all, of the refined and artistic repose in costume . 
<e eas . 


COLOUR IN DRESS 


depends, not upon the nature of the materials of 
which the dress is composed, but upon the colours 
chosen and harmoniously associated, and upon 
their accordance with the complexion of the wearer. 
Nature has, in every instance, supplied a key-tint 
in the complexion ; and due regard must be paid 
to the colours placed in juxtaposition with it: great 
care should be taken that they be ofa nature calcu- 
lated to enhance its natural beauty, and not to 
injure it by forming discords, or throwing objection- 
able complementary tints, by simultaneous contrast 
_ or by positive reflection, upon it. 

Before proceeding farther, we desire to impress 
upon those interested in the present subject that 
simplicity should generally, and under all ordinary 
circumstances invariably, be adhered to in dress ; 
and to assure them that saste is never characterised 
by a display of gaudy or lavish grandeur. Nature’s 
lady, possessed of a refined mind, will intuitively 
select for her unostentatious adornment what the 
would-be-lady would toss aside in disdain. 

As simplicity is an unfailing characteristic of 
“mature and perfect art, so is it a universal token of 
cultivated taste, as well as an important element in 
perfect beauty and refinement in all matters of 
dress. 

Simplicity is likewise a characteristic of a well- 
written book, and an advantage which those who 
65 ¥ 


BRE oe Ss DT 


COLOUR IN DRESS 


desire instruction never undervalue. It is our wish 
to be clearly understood in the following remarks ; 
and we shall endeavour to be successful by rendering 
them free from all dry rules and technical terms. 
We have been compelled to be more or less technical 
elsewhere in the present Manual, but nowhere, we 
trust, so much so as to be unintelligible. 

In order to attain precision and ensure distinct- 
ness, we classify the several styles of complexion 
into groups, as nearly as possible having peculiar 
characteristics in colouring. 

The first classification to be made gives us two 
main types, namely :— 


THE BLONDE TYPE. 
THE BRUNETTE TYPE. 


These may be sub-divided, giving us four 
general types, each of which embraces com- 
plexions having special characteristics in natural 
colouring, thus :— 

THE BLONDE TYPE— 

ist, The Fair Blonde. 
2nd, The Ruddy Blonde. 

THE BRUNETTE TYPE— 

3rd, The Pale Brunette. ) 
Ath, The Florid Brunette.. 


There is an intermediate type which hardly falls 
ie | 


COLOUR IN DRESS 


within the above classification, which may be con- 
sidered to occupy an indeterminate place between 
the Ruddy Blonde and the Pale Brunette. This 
type has been frequently and very disrespectfully 
designated the “ Muddy Blonde” ;* but which we 
prefer to term the Semi-Brunetie, not only because 
the term is in itself more seemly, but because the 
type, as a general rule, is more closely allied to the 
Pale Brunette than to either of the blonde types. 
This is a type, however, which almost defies any 
strict description. 

It must be understood that the five general 
types named above embrace several minor types, 
which display slight differences in the tints or hues 
of the skin, eyes, and hair; but, at the same time, 
it must be realised that it would be practically 
impossible to fix any line of demarcation sufficiently 
distinct to sharply separate these minor types from 
one another. This must be the case; for in the 
majority of instances it is the colour, or hue of 
colour, in either of the three elements—the skin, 
eyes, and hair—that may modify or establish a 


* In a favourable review of the first book on the present 
subject by the author of this Manual, which appeared in a 
fashionable London journal, the author was facetiously 
accused. of neglecting the most prevalent type of female 
beauty which the critic designated “the Muddy Blonde.” 
The author does not ignore the type, so pointedly alluded 
to, by the critic. 


67 


COLOUR IN DRESS 


minor type. It may be looked upon as a fact that 
the variations upon any type are more frequently 
met with than the pure type itself; and in the 
generality of instances the variations are so subtle _ 
that it becomes a difficult matter to clearly define 
the same; and a still more difficult task to lay 
down hard and fast prescriptions of colour or colour 
combinations having anything approaching special 
application. This every lady of taste will readily 
understand. We shall, in our following remarks, 
endeavour to define the colours most suitable to 
enhance the beauty of all the types and minor 
types, of which it is practically possible to clearly 
define the leading characteristics ; leaving the fair — 
reader to classify her own charms to be within or 
between any of the types described, and so be able 
to decide respecting the colours best suited for her 
various articles of costume. 

Here we must impress upon our readers that 
the prescriptions and advice given in the present 
Chapter are not simply individual or hastily formed 
opinions dictated by special tastes, for such opin- 
ions in matters of colour are, as a rule, the result of 
some prejudice or special bent of thought. On the 
contrary, we base our instruction on the teaching 
of the natural phenomena of colour and colour 
combinations, which no individual opinion can pos- 
sibly affect or dispute. In following so closely the 

68 


COLOUR IN DRESS 


laws of colour. harmony and simultaneous contrast, 


‘itis more than probable that we may upset some ~ 


popular or individual opinions. But, as. we neither 
know nor lay any weight on them, we shall confine 
our attention to what Nature teaches, leaving all to ~ 
the judgment of our readers; and it is to enable 
them to form that judgment correctly that we have 


given the more scientific chapters on the harmony 


and simultaneous contrast of colours. 


The Fair Blonde.—The true type. may be 
described as having a pure, pale skin, closely re- 
sembling the petal of a white rose, in which there 


appears locally just a blush of pale pink; eyes of 


a clear and soft blue colour; and hair of a flaxen 
or light golden hue. This perfect type has been 
designated the “Cool Blonde,’ although the term 
does not seem very expressive. 

One minor type, or variant, comprises the 
several characteristics of delicate, rose-tinted skin, 


which, in periods of buoyant health and happiness, 


has decided tones of pink on the cheeks, and a 


still richer colour on the lips; eyes of a clear gray, 


blue-gray, or full blue; and hair of a soft, golden- 

brown. Another important variant has been desig- 

nated the “ Golden Blonde,’ which comprises a warm, 

toseate skin ; usually dark gray or light hazel eyes ; 

and rich, golden-brown or auburn hair. Another 
69 


COLOUR IN DRESS 


variant comprises a creamy, white skin ;—termed by 
the French, “atte” ;—eyes of a velvety brown, 
usually dark ; and dark brown hair. Other and less 
important variants obtain, differing chiefly in the 
associated colours of the eyes and hair; but these 
do not call for special comment. 3 


The Ruddy Blonde.—This type, in its greatest 
beauty, has a full-toned complexion, inclining to 
‘positive rose-red or carnation ; eyes of dark blue, 
deep gray, or rich brown colour; and hair of a 
full, warm brown, sometimes inclining to a dark, 
reddish hue. This type is much subject to a de- 
cided increase of colour in the skin in times of 


exercise or excitement, which temporarily destroys 


the natural harmony. This fact has, on certain 


occasions, to be taken into consideration in the — 


selection of coloured materials. . 
Perhaps the most important minor type, or 
variant, is that designated, in artistic circles, the 


“ Titian Blonde.” ‘This type of female beauty was, 


in Titian’s time, held in the highest estimation in 
Venice : the ladies of that city, whose hair was natu- 
rally of a dark colour, resorting to the use of dyes 
or other chemical compositions to change it to the 
red colour of the natural hair of their envied sisters. 


As a writer on this subject says, “To-day, in 


Venice, one sees sometimes the red-haired Italian 


70 


COLOUR IN DRESS 


with green or gray eyes; but more often one finds 
them in still more northern parts of Italy, and they 
are always admired.” The most perfect variant 
in which red hair (not bright orange-red) is the 
dominant characteristic, has a skin of a warm tint 
without any marked local blush, and eyes of a deep 
gray or full blue. A slight variant is created when 
brown eyes are associated with Venetian red hair, 
and a skin of somewhat rich tint. With either 
brown or dark gray eyes, a contrast much less 
marked obtains than when blue eyes are associated 
with red hair <A contrast of a decided character, 
verging on complementary colouring, exists when 
blue eyes are associated with orange-red hair; and 
as the skin in this type commonly partakes to a 
more or less degree of the tint of the hair, it 
becomes a difficult matter to find colours in all 
respects suitable for it. Our readers will readily 
understand the difficulty here alluded to on reading 
our Chapters on the Harmony and Simultaneous 
Contrast of Colour. 

There is another and very beautiful variant, 
which presents a fair skin with a brilliant, rosy 
colour on the cheeks and lips; steel-gray eyes; 
and brown hair, approaching black. 


The Pale Brunette—The pure type may be 
described as combining a pale skin, very commonly 


ai 


COLOUR IN DRESS 


having a tendency to sallowness ; with eyes of deep 


brown or a brown-black hue; and hair of a dark, 
rich brown, closely allied to a warm black colour. 


It is a beautiful and very expressive type when all 
its colouring is pure and well balanced. The eyes 
and hair present a close harmony of analogy, while 


a fine harmony of contrast obtains between them — 


and the tone of the skin. 


The only important variant in this type is that ‘ | 


in. which the pale skin, as described above, is asso- 
ciated with blue eyes and black hair. While this 
minor type has been pronounced one of the most 


fascinating in the many styles of female beauty, it — 


cannot be said to be common. 

The variant most commonly met with, and 
which may be classed as an intermediate type, 
presents the combination of a pale, saliow skin, 
with brown-black eyes and black hair. | 


The Florid Brunette.—This type has a rich- 
toned skin, inclining toward a golden-brown; and 


in some instances inclining to the olive, and in— 


others to the copper-coloured complexion: all with 
more or less deep redness about the cheeks and 
lips. The eyes of the Florid Brunette are of the 
intense brown, commonly designated “black,” and 
her hair is a jet- or blue-black. When in its per- 


fection, no type can surpass thé Florid Brunettein 


72 


Lent Ss 
ry. —* 


a ty 


Pe or 
rit” 


COLOUR IN DRESS 


impressive and commanding dignity. There are no 
variants of any importance, so far as the subject of 
this Manual is concerned ; for as the colours of the 
eyes and hair remain constant, slight changes are 
only caused by alterations in the tinting of the 
skin, and this has only a very limited range. 


The Semi-Brunette.—This variant or minor type 
is somewhat difficult to define, for, as already said, 
its characteristics are indeterminate. It may be 
said, in short, that it differs in certain respects from 
all the types described above, while it frequently 
combines certain characteristics of two or more of 
them. In this minor type the complexion is usually 
of an all-over, uniform tint, in some cases of a dull, 
warm hue, in others approaching to positive sallow- 


ness. The eyes are dark gray, greenish-gray, cold 


bluish-gray, or. a very dull brown; and the hair 
uniformly a dark and dull brown. 
It must be acknowledged that considerable 


difficulty is experienced not only in clearly marking. 


the dividing lines between the general types and 
their variants ; but in describing the characteristics 
which strictly belong to the types and variants. 
That this must be the case is obvious when we find 
that almost all complexions vary from day to day, 


-and sometimes from hour to hour ; these changes 


are usually due to external causes, such as extreme 


73 


COLOUR IN DRESS _ | 


cold or extreme heat. Cold has a decided action 
on the skin, turriing it blue or purple in hue; while 
heat has a double effect, turning some skins paler 
and more pink than their normal tints, and throw- 
ing on others, which are naturally fair, a tone of 
objectionable brick-red. The state of the. health 
has also a decided effect on the skin, eyes, and 
hair; but such effects, to some extent transient, 
are too varied and uncertain to be enlarged upon 
in this Manual. 

A review of what has been written, more or less 
to the point, on the subject of colour in dress forces 
one to the conclusion that personal tastes or deeply- 
rooted opinions have been the chief factors in di- 
recting the pens of the writers. Certainly there is 
a total absence of any direct reference to the all- 
important scientific side of the question ; or to the 
incontrovertible facts attending the phenomena of 
colour concords and discords. It is quite natural 
that a person, interested to an ordinary extent in 


colour, should have a leaning to, or a marked pre- | 


dilection for, some special colour or colour combina- 
tion;. and when this exists to any pronounced 
extent, it is bound to influence the selection of 
colours for dress; it may be looked upon as 
almost as dangerous as the blind and senseless 
craze for fashionable colours, because they are 
called “fashionable.” 


74 


ms ¥ ¥ 

. 
wx 
io 


re a ae 


COLOUR IN DRESS 


A writer in an American journal, touching 
on this subject under the heading, “What is your 
Character Colour?” says: “Every man or woman 
has his or her own personal colour note. Some are 
so sensitive in this respect that different hues will 
exercise a powerful effect on their minds, soothing, 
stimulating, or even depressing or irritating, accord- 
ing to the affinity or antagonism between the colour 
and the person. 

“Many artistic people are so keenly alive to 7 
this that they can hardly think of a colour without 
connecting it with some quality or sensation; and 
more than one famous actress dresses for her parts 
according to her reading of the characters she is to 
assume. Among many other instances may be 
quoted a case of a lady writer who is perfectly 
miserable unless she has a certain amount of green 
in her surrounding—green being her dominant 
colour. 

“The fact has been frequently tested by getting 
people to gaze steadily at a series of little vials in 
each of which is a brilliant fluid colour. Sometimes 
a particular hue will quite dazzle and fascinate ; in 
other cases a colour will give the observer a most 
disagreeable sensation. Thus may be discovered 


_ their colour sympathies.” 


There is little doubt that some feeling of this 
sort frequently influences ladies in the selection 


75 


COLOUR IN DRESS 


of colours for their dress; for it is difficult, on any 
other logical grounds, to account for the noteworthy 
mistakes one so often sees in the dress of persons 
credited with the possession of taste. We have 
introduced the subject here in the hopes of warning 
ladies against giving way too much to their per- 
sonal predilections ; simply because it by no means 


follows that the love of special colours can be trusted 


as asafe guide. Ladies should always bear in mind 
that the full effects of colours on their complexion 
cannot be properly judged by themselves, but chiefly 
by those who look at them with more or less critical 
eyes. 


The blind following of fashion is a matter to be : 


greatly regretted. A writer in another American 
journal pertinently remarks: “Every season the 
fashionable colour changes. Black is worn one 
year, crushed-strawberry another, peacock-blue 
another ; and straightway all the women and girls 
of every shade of complexion wear the colour in 
question. The consequence is that, out of every 
twelve women, one, whom the fashionable colour 
suits, is for that season pretty ; eleven, whom it does 
not suit, are for that season plainer than they need 
have been. If they would have chosen the colour 
that was becoming to themselves, they might have 
looked at least as attractive as Nature had made 


them. Of course, it is not always easy for persons 


76 


* were 3 


COLOUR IN DRESS 


who have not an ‘ eye for colour, as it is called, 
to know what colour does suit themselves, Some 
people there are—young, beautiful, and bright— 
whom every colour seems to suit; they can wear 
anything. But these people are very exceptional. 
The majority look their best only when they wear 
colours which harmonize with the tints of their hair 
and complexion.” 

There is another matter which deserves 
consideration, and one that we feel sure, from obser- 
vation, exerts a wider influence than is commonly 
realized. It is a fact that very many people have 
only an indifferent eye for colour; that, in short, 
they are more or less affected with what is known 
as colour-blindness, Generally speaking, the affec- 
tion is very slight, and, perhaps, in respect only to 
certain colours. It is said that women are less 
subject to this natural imperfection than men: it 
may be so; and it is at least considerate to attribute 
the glaring mistakes made by: women in matters of 
colours in dress to some such failing in their vision. 
The following extract, from an article which recently 
appeared in an English journal, is very much to the 
point in the subject now under consideration : 

“*T rather like the look of the girl over there in 
the blue dress,’ says one to his hostess in approving 


tones. She looks in the direction indicated, and 


observes two girls sitting near an open window 


77 


COLOUR IN DRESS 


which leads into the garden. One, a tall, hand- 
some brunette, is clad in a becoming violet gown; 
her companion, an insipid, insignificant blonde, is 
wearing a ‘true blue’ coat and skirt. Inwardly 
wondering at his taste, his hostess conducts him 
across the room towards his selection in blue: 
Suddenly a detaining hand is laid upon her arm, 
and a voice, hoarse with apprehension, hastily 
whispers, ‘Not the violet one—the dark one in 


blue’ She maliciously introduces him to both — 


guests, and lingers for a moment to watch develop- 


ments, With more appreciation than politeness he. 


instantly commences to devote himself to the hand-. 
some brunette in violet. 

“‘T always admire your beautiful yellow cur- 
‘tains, observes an elderly colonel, strolling up to 
his hostess. She gives one fleeting glance towards 
her lovely vieux rose hangings, and murmurs 
something incoherent, which he construes into 
pleased acquiescence, joins a group of women, 
secretly trusting that with them she will not en- 
counter colour-blindness of quite such a virulent 
kind. No, if they happen to mention a hue, red is 
red, blue is blue, green is green, all through the 


range of colours; but the majority of them are 


certainly suffering from imperfect colour vision in 
a mild yet trying form. 
“This, and this only,’ concludes the writer, 
78 


‘Ao 


COLOUR IN DRESS 


“could account for many of them wearing colours 
and shades which either detract from their own 
good tints, or unkindly increase Nature’s failings.” 
Whether the above recites actualities, or is 
imaginative, it is right in its teaching. We have 
known instances of even more pronounced character. 
We have touched upon these subjects, before 
entering upon our remarks on the colours to be 
preferred or avoided, in articles of dress, by ladies 
of the different types already described, because. 
we desire all who may be interested in the sub- 
ject to be aware of the possibility, and, indeed, 
the probability, of differences of opinion obtaining 
respecting the colours recommended, arising from — 


‘such causes as those just mentioned; namely, a 


positive predilection or natural sympathy for special 
colours ; or from a greater or less tendency toward 
colour-blindness. Our following remarks are made 
without any reference to such shortcomings, being 
in all cases based on the positive observation of the 
phenomena of colour harmonies, and on the effects 
colours invariably produce on surfaces in their 
immediate neighbourhood. While such effects 
may be fully realised only by perfectly normal 
and healthy eyes, their absolute and unvarying 
existence is beyond question; and having been 
demonstrated by scientific methods, are beyond 
mere personal opinion, for or against. In the 


79 


ey ote 


COLOUR IN DRESS 


preceding Chapters we have endeavoured to de- 
scribe, in as popular a manner as possible, the 
leading facts and phenomena of the harmonies and 
simultaneous contrasts of colour so far as they 
affect the subject of the present treatise. These 
facts and phenomena are our sole guides in formu-— 
lating the following instructions and suggestions. 
We. make these remarks. for, so far as one can 
judge, all previous writers on colour applied to 
dress seem to have ignored the scientific aspect of 
the matter, and to have depended on what is 
called artistic perception of the beautiful; but as 
this varies in each writer, so their teachings differ. 
It sometimes amounts to “the blind leading the 
blind.” 


THE FAIR BLONDE 


On referring to the paragraphs in which we 
describe the characteristics of this charming type 
of. female beauty, it will be observed that, both in 
its true condition and in its variants, great lightness 
and delicacy prevails in all the features alluded to; 
and that absence of pronounced colour in the skin 
is rather the rule than the exception. Such being 
the case, it is obvious that in associating or placing 
colours in juxtaposition with it, great care should 
be observed to enhance what natural leaning it 
may display toward warmth, rather than to effect 

80 


COLOUR IN DRESS 


a bleaching process. To the true type, first 
described, this care is essential, so that the appear- 
ance of health may be properly supported when it 
already exists; or imparted, to as great an extent 


as possible, when the skin is undesirably pale. 


The effects of one colour upon another, or, 
what is the same in reality, of a colour upon the 
tint of the skin, are, as pointed out in the preceding 
Chapter, of a somewhat complex character. By 
simultaneous contrast a colour may optically change 
the hue of another placed in juxtaposition with it, 
or directly in the same field of vision; it may 
deepen or lighten its tone by positive contrast; _ 
it may, by direct reflection, suffuse the associated 
colour with its own hue ; and, further, a colour of a 
rich character may, and usually does, exercise all 
these effects, at the same time, on the complexion. 
Of course, it will be understood that the effects of 
colour, in articles of dress, upon the tint of the skin, 
and the hues of the hair and eyes, are purely optical 
and temporary ; that is, existing to the eye of the 
observer only so long as the colour is associated 
with them. It must also be borne in mind that the 
same effects are not apparent to every observer. 
It is to establish this latter fact that we have, in 
the foregoing remarks, alluded to the existence of 
colour-blindness, or a defective vision with respect 
to certain colours or their combinations, 

8I G 


COLOUR IN DRESS 


Our first duty is to consider what is required to 


enhance the natural beauty of the Fair Blonde, and - 
to decide what can best be done to supply that 
which may seem deficient in any direction. As 
a general rule, in her complexion rose-colour or 
warmth of hue is wanting ; this should be supplied 
so far as possible. If her hair is naturally of an 
agreeable hue, it should be further enriched ; but if 
deficient in any way, an attempt should be made 
to improve its colour. If her eyes lack fire or 
brilliancy, the force of contrast or reflection should 
be brought, into play to enliven them. All this 
can be more or less effectively accomplished by the 
proper application of colour in dress. To para- 
phrase the words of a writer on costume: One may 
sometimes hear the remark, “ We saw some pretty 
dresses during our walk to-day.” Well, if the 
clever workwoman had been a better and more 
thoughtful colourist, we should have heard, “We 
saw. some pretty women during our walk to- 
day.” | 
The true type of the Fair Blonde has, as 

previously stated, a pale skin, closely resembling — 
in its purity the petal of a white rose, locally tinted 
with a delicate and agreeable pink ; eyes of a clear 
and soft blue ; and hair of a flaxen or light golden 
hue. Accordingly, there are in this type three tints 
to be preserved or improved: that of the skin, 

82 


COLOUR IN DRESS 


which, if affected at all, should be warmed; that 


of the eyes, which may be deepened with ad- 


vantage; and that of the hair, which can be 


enriched so as to contrast more effectively both 
with the pale tint of the brow and the colour of 
the eyes. There is only one colour that can, by 


‘simultaneous contrast, furnish the improving hue, 


and that is GREEN. As we have pointed out in the 
preceding Chapters, the complementary and perfect 
contrasting colour of green is red ; and through the 
phenomenon of simultaneous contrast, it has the 
invariable effect of optically imparting a reddish 
hue to any surface placed in juxtaposition with it. 
GREEN, is accordingly, most favourable to the 
Fair Blonde, because it imparts to the delicate 
colouring of the skin a richer glow of red; to the 
eyes, a singular inciease of force, both by simul- 
taneous contrast and positive reflection ; and to the 
hair an agreeable richness and warmth. Of course, 
a refined tone of green should invariably be 


_ selected, inclining to the olive or sage-green scale. 


Moss-greens, if not too deep in tone, are generally 
effective and favourable. 

Dark greens are noi so favourable as the lighter 
tones ; being so great a contrast to the fairness of 
the complexion, they neutralize, to a large degree, 
their influence for good—that is, as greens they 
give their complementary colours (reds of certain 

83 


COLOUR IN DRESS 


hues); while as dark colours, they bleach the 
complexion by extreme contrast. Indeed, all very — 
dark colours, placed in juxtaposition with the skin, 
have the latter effect. Fair complexions do not 
require anything of a bleaching character. 

Green may be associated with tones of itself ; 
but the same scale must be adhered to, so as to 
secure repose of effect, and a perfect harmony of 
analogy. The combination, while it is refined, ts 
not effective unless enlivened by other harmonious 
colours. The most suitable colours to associate 
with green are red, orange, and rich gold-colour ; 
but great care should be observed in the intro- 
duction of such assertive colours. The autumnal 
hues of these assertive colours are always prefer- 
able with the quiet greens recommended above. 
Bright or grass-greens should always be avoided 
by the type now under consideration. 

A green hat or bonnet is suitable to the Fair 
Blonde, and if the rest of the costume is green, 
care must be taken to select a tone belonging to 
the same scale. When there is no green in the 
dress, taste may be freely exercised in the selection 
of the hue of green for the headdress. It may have 
a small proportion of rose-colour in the trimmings, 
associated with white, and a white feather. Too 
much white, however, with green produces a poor 
and cold effect, and accordingly fails to aid the fair 


84 


- 


COLOUR IN DRESS 


_ complexion to the desired degree. Experiments 


have proved that acoloured hat or bonnet produces 
much more effect by the phenomena of simultaneous 
contrast, arising from juxtaposition with the tint of 
the skin, than by the coloured reflection which it 
casts on it. As Chevreul correctly remarks, alluding 
to headdress: “Green colour, reflected upon the 


skin, is very feeble except on the temples ; wherever 


the green parts are contiguous to parts feebly 
lighted by daylight, the latter will appear slightly 
rosy ; the effect of green in colouring them pink is 
proportionately greater than the effect of pink in 
colouring them green.” 

_ Orange, or deep gold-colour, may be substituted 
for the rose mentioned above ; so also may scarlet ; 
but neither must be placed in juxtaposition with 
the skin. A small proportion of orange in a green 
headdress is to be recommended when the eyes of 


the wearer are a pronounced blue. Blue eyes are 


in reality the only features of the Fair Blonde 
which form a contrast of colour with the remaining 
characteristics of her type; for the rosy parts 
produce with the more delicate tints of the rest 
of the skin only a harmony of analogy of hue, or 
at most a weak contrast of hue, and not of scale; 
while the parts contiguous to the eyebrows and hair 
develop a harmony of analogy, either of hue or 
of scale. The harmonies of analogy, accordingly, 
85 


COLOUR IN DRESS 
predominate in the fair blonde over the harmonies 
of contrast. 

We may add, a few shades of the autumnal hues 
of red, orange, and yellow-green, when not too dark 
and dead, improve a green hat or bonnet—these 
may be introduced in the form of leaves. 

BLUE is highly favourable to the Fair Blonde, 
as it imparts a delicate tint of orange, which com- 
bines with the natural white and pink of the com- 
plexion. The blue must be light and not too 
positive. As blue is the perfect contrast of orange, 
it harmonises well with golden hair; while, by 
simultaneous contrast, it enriches all varieties of 
flaxen hair. By positive reflection it adds richness 
to blue eyes. It will be seen on referring to the 
List of Colour Harmonies appended to Chapter I]. 
that the harmonious combinations with blue are 
fairly numerous, but those suitable for refined dress 
are comparatively few. 

As blue and white (preferably cream-white) are 
an agreeable harmony of contrast, the latter may — 
be freely used to impart brightness and any desir- 
able character to a dress, which if of blue alone 
might seem too ineffective. When two tones of 
blue are associated, white becomes a most valuable 
addition as a separating medium. In all cases, how- 
ever, white must be somewhat sparingly introduced, 
and usually as a defining or accentuating element. 

86 . 


COLOUR IN DRESS 


Dark blue, while by no means objectionable, 
is not so suitable for the true type of the Fair 
Blonde, chiefly. on account of its bleaching effect 
on the complexion by extreme contrast. But, if 
adopted for an entire costume, it should be 
separated from the skin by an edging of tulle or 
some similar gauzy trimming, which, from the 
nature of its fabric, assumes an undetermined gray 
tone, destroying to a large degree the effect of 
the extreme contrast just mentioned. Gray of a 
medium tone may be introduced in a dark blue 
costume with a very pleasing result. 

A light blue hat or bonnet is, for reasons given, 
very suitable to the Fair Blonde with golden or 
flaxen hair. It may be trimmed with white, pearl- 
gray, or black ; and small portions of pale orange, 


 old-gold-colour, maize, or stone-colour, may be 


added locally. No hue of the green, red, or purple 
scales should be introduced unless very pronounced 
effects are aimed at. In no case should the blue 


of the headdress be of a different hue to that used 
jn the dress. 


Generally speaking, a blue having a slight in- 
clination toward the green scale is preferable to 
any tint of the normal primary blue. Blue of an 
ultramarine character—inclining toward the purple 
scale—should never be worn by the Fair Blonde. 

NEUTRAL COLOURS, as a rule, accord well with a 


87 


COLOUR IN DRESS 


fair complexion, especially when a quiet and re- 
tiring effect is desired; when light in tone, they : 
give value to its natural colouring ; when dark, they 
reduce its colouring by direct contrast. The best 
neutrals are gray, fawn, slate, and drab. 

The colours to be avoided are RED, ORANGE, 
YELLOW, PURPLE, and BROWN, in practically all 
their hues and tones. LILAC, which is a delicate tint 
of the purple scale, is even trying to the complexion, 
although not to an important degree if separated 
from positive juxaposition with the skin by an 
edging of white lace, tulle, or some similar trim- 
ming. The injurious effect of lilac is considerably 
lessened when associated with such harmonious 
colours as maize, primrose, gold-colour, or cerise. 
More pronounced harmonies are given in the List 
of Colour Harmonies. On no account should green — 
be associated with lilac, as it forms a decided dis- 
cord. It is not generally recognised that colours 
of the purple scale, which inclined to the blue 
scale, form discords with green ; and, accordingly, 
we often find them associated in costume. We may > 
add, however, that a small proportion of light purple 
is agreeable in a headdress for light or golden hair. 

Before treating of black regarding its effect on 
the complexion, we may remark that, associated in 
trimmings (such as narrow ribbons, braided work, or 
lace) with any of the neutral colours named above, 

88 


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COLOUR IN DRESS 


it has a tendency to heighten or brighten their 
effect, especially by artificial light. This is due to 
the power of black to absorb light. 

BLACK though somewhat gloomy in its effect, 
and the acknowledged garb of mourning, is never- 
theless favourable to all the variants of the Fair 
Blonde type, and especially so to the variant which 
has a more or less pronounced pink tint in the skin. 
It is less favourable to very delicately tinted com- 
plexions, undesirably bleaching them by powerful 
contrast. No delicate colour can be placed in 
juxtaposition with black without appearing still 
lighter in tone by simultaneous contrast. 

To remove the gloomy or sombre effect of 
black, colours should be added in trimmings, such 
as light blue, gold-colour, maize, cerise, fawn, drab, 
or lilac (sparingly). White is suitable with black, 
but is cold and harsh unless associated with some 
other colour to soften its effect. Red must not be 
used with black, as it gives it a disagreeable tinge. 
The fair blonde should in all cases adopt a dead 
black fabric, preferably velvet. 

WHITE is suitable to every complexion which 


| has an agreeable natural tint, but, perhaps, to none 


more so than to that of the Fair Blonde with a 
healthy colour. It heightens the natural pink tint, 


while it purifies the lighter tints by reflection of 


light. White can be relieved by any of the colours 
89 


RJ “eee ae ee 
(ates Lp Sees 


COLOUR IN DRESS 


recommended above, but greens should be very 
cautiously introduced ; when used the palest semi- — 
neutral hues should be selected. There are pure 
white and cream-white, and both these have to 
be considered in the selection of colours to be 
associated with them. As in the case of black 
fabrics, dead (unglossy) white materials should 
always be preferred ; any glazed fabric is objection- 
able and trying to the complexion: this is due to 
‘their powerful reflection of white light. 

All the remarks already given apply, generally, 
to the variants of the type described in the preced- 
ing pages of the present Chapter, including that 
designated the Golden Blonde, whose eyes are | 
either dark gray or light hazel-brown, and whose 
hair is a rich golden-brown or auburn. But in her 
case, colours can be effectively modified to fuller — 
and richer hues. Her gray eyes can be improved 
by a reflection of blue; while her hazel eyes can 
receive the same reflection, which will intensify 
their expression: at the same time they may 
receive a brightening of their natural colour by 
simultaneous contrast. Her hair can also be en- 
riched by the addition of orange or red, and her 
complexion can be improved by a slight toning- 
down by positive contrast. All these requirements 
or advantages point to the adoption of similar 
colours to those already recommended, but of 


90 


r Acne 
~~) © Geen 


COLOUR IN DRESS. 


somewhat deeper or richer tones and hues. There 
is, perhaps, no type of female beauty that calls for 
more judgment, care, and taste in the selection of 
colours in dress than the Fair Blonde: simply be- 
cause no other type can lay claim to the same 
delicacy of colouring in all its features, or is so 
sensitive to the effects of associated colours. 


THE RUDDY BLONDE 


The characteristics of the true representative of 
this type are a full-toned skin, inclining naturally 
to a positive rose-red ; eyes of a dark blue ; and hair 
of a rich warm brown inclining to the red scale: 
accordingly, it is evident that it is undesirable to 
heighten the tones or hues of the skin, especially, 
as already remarked, they are naturally subject to 
an increase of colour in times of exercise and excite- 
ment. On the contrary, it is commonly desirable, 
through the agency of colour in dress, to tone down 
as much as possible the high local blush-red, and 
generally refine the natural colouring of the com- 
plexion. The fact that in certain variants the eyes 
are deep gray or brown does not materially alter 
the system of colouring desirable in articles of 
costume. 

While the colours recommended for the Fair 
Blonde type and its variants are suitable for the 
rue Ruddy Blonde type, having the characteristics 


gi 


| NS ea ae ee 
Vas pce ae ane 


COLOUR IN DRESS 


detailed above, it must be obvious that deeper 
tones and less pronounced hues are desirable. For 
instance, such blues and greens as have a decided 
tendency to add orange or red to the CPA | 
should be avoided. 

As a rule, the Ruddy Blonde may use more 
freedom in the selection of colours and hues than | 
the Fair Blonde ; her complexion, not being of so 
delicate a character, is less sensitive. From the 
fact that the hair peculiar to the true type is the - 
medium between orange and black, and that the ~ 
tints of the skin are high and, locally, positive, 
moderately dark colours in dress are to be recom- 
mended. 

As in the case of the Fair Blonde, GREEN is 
one of the colours favourable to the Ruddy Blonde; 
but in this case, delicate green is not so suitable as 
dark green. When the complexion approaches 
that of the fair type, and can, accordingly, receive 
more red without becoming overcharged, a full- 
toned green may be adopted, which, although suffi- 
ciently bright to impart a delicate, rosy tint to the 
skin, is not a contrast powerful enough to bleach it. 
In proportion as the complexion increases in its 
natural colour, a green of duller tone must be 
selected, and progress must be made from the posi- 
tive, or normal, to the quieter and semi-neutral 
hues of the sage- or olive-greens, preferably deep 


Q2 


COLOUR IN DRESS 


in tone. Deep, neutral greens do not cast much 
red on the complexion, while they both harmonise 
with and reduce its natural tints by contrast. The 


- following general rule should be observed by the 


Ruddy Blonde. The paler her complexion, the 
more normal or positive should be the green of her © 
dress: the rosier it is, the deeper and more neutral 
should the green. be. 

A green hat or bonnet is suitable to the Ruddy 
Blonde whose complexion is not overcharged with 
rose. When it is highly coloured, the effect of 
green should be neutralised by the addition of 
rose, scarlet, or white flowers or trimmings. When 
scarlet flowers are adopted, they should be asso- 
ciated with several dead-green hues, in the form 
of leaves or ribbons. Rose-coloured flowers will 
hermonise better with lighter and brighter green © 
leaves ; and if white is introduced, let it be either 
in the form of a feather or some gauzy material, 
which will produce indeterminate gray effects in 
the shadows, and dull white in the lights. 

BLUE is advantageous to the Ruddy Blonde, 
imparting to the compiexion an agreeable hue. 
The small amount of orange which blue casts on 
skin is not in itself perceptible, as it unites with the 
rose and flesh tints, refining and improving the 
natural fresh and healthy colouring. Blue follows 
the rule already given with reference to green—that 


O53 


ex Oh ee 


COLOUR IN DRESS 


is, it must be used of a deeper tone with com- — 
plexions of full colour than with those of lighter 
tints. Blues inclining toward the green and gray 
scales are, as a general rule, to be preferred to those 
inclining toward the purple scale. No blue is so 
unsuitable for dress as bright ultramarine. Bright 
blues of any hue should not be brought in direct 
juxtaposition with the skin, but should be sepa- 
rated therefrom by some semi-transparent white or 
light gray material or trimming. 

For soft and retiring effects, the best colours to 
associate with blues inclining to the gray scale are 
gray, drab, stone-colour, fawn-colour, and white 
(not glossy). For more pronounced effects with 
blues inclining to the green scale, are salmon, gold- 
colour, and scarlet or orange-red ; while less power- 
ful are the contrasts produced by their association 
with hues of chocolate or chestnut—not too dark. 
Fine effects are obtained, in strict harmonies of 
analogy, by associating, in the several features of 
costume, different tones of the same blue; that is, 
tones strictly belonging to the same scale. When 
a blue of a decidedly green hue is selected, it may 
be associated with lighter tints, in which the green 
is still more evident, producing a perfect harmony 
of analogy. White or light gray can be intro- 
duced with any of these combinations with a very 
satisfactory effect. Great skill and taste can be 


94 


COLOUR IN DRESS 


exercised and displayed in the proportioning of the 
_ different tones just alluded to, both in regard to 
their several depths, and the respective amounts of 
them introduced in any dress or complete costume. 
A blue hat or other headdress suits the warm, 
brown hair of the type now under consideration, 
giving it an increase of orange, which is one of the 
constituents of its natural colour, and which clears 
and enriches it to a perceptible extent. A blue 
hat also enriches the blue eyes of the type by 
reflection. All that has been said respecting the 
harmonious association of colours and tones in the 
dress is of equal value in the embellishment of the 
hat or bonnet. | 

NEUTRAL and BROKEN COLOURS are generally 
suitable to the present type. When of medium 
intensity, they leave the natural colouring of the 
complexion almost unaffected; when light, they 
increase its colour optically; when dark, they 
reduce it by direct contrast of tone. The most 
agreeable dark colours are russet, dark olive, deep 
slate, and warm gray. Maroon and some hues of 
brown are passable, but both these and other 
broken colours approaching red must be adopted 
with great caution. The most pleasing semi-neu- 
trals are gray, drab, fawn, and warm stone-colour, 
all of which should be full-toned, so as not to in- 
crease any natural high colour in the complexion. 


95 


6 Se | oe eee 
‘Mae eee 
Se Se 

Fe eee 

is ie 


COLOUR IN DRESS 


The remarks made respecting WHITE and 
BLACK, in connection with the Pale Blonde, apply 
generally to them in connection with the Ruddy 
Blonde. In some cases, a blue-white will be found 
more suitable for the latter type than a cream-white. 

The same colours must be avoided by the Ruddy 
Blonde that have been pointed out as injurious to 
her fairer sister. 

Perhaps of all colours the most difficult to intro- 
duce in ordinary dress is VIOLET, its effect upon the 
complexion being always unsatisfactory. It has, in 
close proximity to the skin, the effect of causing it © 
to appear yellow and sallow. No one of the Blonde 
type can receive that colour without looking sickly 
and less pleasing. A diversity of opinion seems to_ 
obtain among those who have lightly touched upon 
colour in dress, respecting the value and effect of 
violet and purple, but its advocacy seems due to 
some personal predilection, or, perhaps, in certain 
cases to a deficiency in colour vision—a subject 
already commented upon. Certainly no scientific 
argument can be advanced in its favour for ordinary 
daylight costume ; and, as its beauty and colour value 
are positively lost in gas-light, and are greatly in- 
jured in all other systems of artificial lighting, it is 
evident that it is undesirable for evening dress. 
These remarks specially apply to ordinary society 
dress, which does not readily admit of purple or 

96 


Sieg 


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Lc 


pS ne cae Is he Ey | 


COLOUR IN DRESS 


violet being effectively neutralised by a sufficient 
amount of their complementary colours,—pure yellow 
and deep gold-colour or orange-yellow,—producing 
a too pronounced effect in any light. Of course, in 


costume for the stage, in which brilliant displays of 


all the colours of the rainbow are desired, and vivid 
contrasts are essential to the production of striking 
effects, tints of purple and violet, under the brilliant 
electric lighting, can be effectively used, providing 
considerable portions of the dresses are of deep 
yellow or imitation gold. Royal robes of deep 


purple or violet velvet, bordered with ermine or rich 
embroidery in gold, have a superb effect ; but these 


are not to be considered ordinary dress; and their 
association with other harmonious colours, gold, and 


_ gems, prevents such robes affecting the complexion 
of the wearers. 


A hat of violet velvet, which readily admits of 


__ being trimmed with yellow flowers or subdued gold- 


coloured ribbons, is by no means objectionable, 
provided it is lined underneath, adjoining the face, 
with some dead cream-white material, preferably 
velvet. Violet flowers can be used, if separated 
from the velvet of the outside by leaves of autumnal 
yellow hues. We commend these remarks to the 


attention of ladies who may have a special love for 


the hues of the purple scale, and its tints and shades. 
The several variants we have alluded to in the 


fye 4 


COLOUR IN DRESS 


present type do not call for any special departures 
from the colours suitable for the true or normal 
Ruddy Blonde: and from what has been directed 
for this type and that of the Fair Blonde, no diffi- 
culty need obtain in the selection of colours calcu- 
lated to enhance the charms of those who may be 
classed under any of the variants. 


THE PALE BRUNETTE 


We have ventured to describe this type, in its 
purity, as combining a pale skin, commonly having 
a tendency to sallowness, accompanied with eyes of 
deep brown or brown-black hue, and-hair of a dark 
rich brown, closely allied in many examples to a 
warm black. We have further remarked that while 
the eyes and hair present a close harmony of analogy, 
they produce along with the pale tone of the skin a 
fine harmony of contrast, but the latter could be 
improved by a slight infusion of warmth in the hue 
of the skin, this, however, is commonly denied this 
type by Nature;. and, accordingly; art has to be 
‘resorted to, so fag as colour in dress can 89, to 
impart this appearance of warmth. 

The powerful contrast which exists between the 


tone of the skin and the dark shades of the eyes” 


and hair leads to the supposition that the colours 
best suited for the costume of the Pale Brunette 


98 


= Xo ee 
pes oe 
Res 


COLOUR IN DRESS 


are those which will harmonise by analogy -with 


either of the above natural characteristics, rather 


than those which will contrast with them all simul- 
taneously. Reasoning thus, we must conclude 
that either light or dark colours will suit the 
type better than medium tones—the light harmo- 
nising, by analogy, with the complexion, and the 


dark with the hair and eyes. 


We thus follow Nature, sustaining her own 
satisfactory colouring and effective contrasts. The 
tints chosen as analogous to the complexion re- 
main, like it, in contrast with the deep hues of the 
hair and eyes; those. selected as analogous to the 
latter sustain the contrast with the complexion. 
The adoption of colours of medium intensity 
between the tones of the skin and hair is generally 
injurious to the Pale Brunette, because they have a 
pronounced tendency to reduce the vivid expression 
which is her greatest charm. It must be admitted 
that the Pale Brunette presents greater difficulties 
to the colourist in articles of dress than any of the 
other types of female beauty. It must also be 
acknowledged by every colourist that of all the 
types the Pale Brunette is the most difficult to 
dress effectively. 

WHITE, which is usually considered a safe colour 


for all types, must be used with great caution by 


the Pale Brunette; it accentuates any sallowness 


99 


COLOUR IN DRESS 


that may be in the complexion, while it adds to — 
the appearance of any imperfections of the skin. 


Under no circumstances should cold blue-white be 
used. As a lady writer justly remarks: “When 
the freshness departs from our skins, then white 
shows herself indeed pitiless.” A full. cream-white 
can, however, be used with a fair. amount of safety, 
and this hue should always be selected for ruching or 
lace close to the skin. Cream-white when associated 
with other suitable colours is never objectionable. 

BLACK is also a trying colour for this type, 
notwithstanding its analogy with the hair and eyes, 
and its general tendency to refine the hue of the 
skin. Glossy black should be avoided, while black 
velvet, trimmed with. cream-colour—preferably in 
lace,—can be safely adopted, as a general rule, by 
the Pale Brunette. 


BLUE, of anything approaching a rich or pro- — 
nounced hue, must be studiously avoided, on — 


account of its unavoidable tendency to impart an 
orange hue, and increase the sallow appearance of 


a pale skin. If blue is desired, let it be dark and — 


broken in hue; and let it be treated as recom- 
mended for black. The Pale Brunette will do 
wisely to avoid all light tones of blue. Our ad- 


vice to ladies of this refined type is: Leave blue 


out of your list of wearable colours. 
BROWN of a kindly warm hue is suitable for 
100 


COLOUR IN DRESS 


the present type, harmonising with the complexion, 
eyes, and hair. Olive-brown and cold grayish- 
brown should be avoided. As a writer has said: 
“Brown is like the little girl with the curl—when 


it’s good, it’s very, very good, but when it’s bad, it’s 


horrid.” Brown has, as an almost invariable rule, 
a subduing effect, and, accordingly, is not very 
suitable for young girls. At the same time, it 
must be said, a beautiful and very refined costume 
can be “created” by the artistic association of two 


or three tones of the same scale of brown, espe- 


cially if the lightest one approaches a golden hue. 

Warmer colours generally suit the Pale Brunette, 
but positive hues must be approached with caution. 
CLARET, DEEP RUSSET, and SUBDUED CRIMSON 
can be worn, and, of lighter hues, OLD ROSE and 
BROKEN REDS are favourable. Such subdued 
colours are not liable to affect the pale complexion 
unfavourably by simultaneous contrast ; while, by 
reflection, they are likely to impart warmth. 

GOLD-COLOUR and MAIZE can be worn by the 
Pale Brunette, forming an agreeable contrast to 
the eyes and hair, while they neutralise any un- 
desirable sallowness that may exist in the skin. 

The colours to be avoided are LIGHT BLUES, 
LIGHT Or BRIGHT GREENS, PALE VIOLETS, PUR- 
PLES of all hues, and PINKS of any positive hues 
or tints. 

IOI 


COLOUR “IN "DEESS 


Regarding the variants of this type, previously 
described, little need be added to the directions 


given above. In the case of the first variant, the . 


association of blue eyes and black hair with the 
peculiar complexion of the Fair Brunette, practically 
presents the same strength of contrast—the blue 
eyes contrasting less forcibly, and the black hair 
more forcibly with the complexion—as is presented 
by the colouring of the true or normal type. No 
special class of colours, differing from those given 
in the preceding directions, need be mentioned 


here; but it may be remarked that golden hues 


are eminently suitable for this variant. Regarding 
the second variant, or intermediate type, it is only 
necessary to say that any colour calculated to in- 
crease the natural sallowness of. the complexion 
should be studiously avoided. : 


THE FLORID BRUNETTE 


The most perfect and commanding of all the 
types of female beauty is that of which we now 
have to speak. The Florid Brunette combines 
with the rich colouring of the Ruddy Blonde a 
complexion of peculiar depth and hue, and in- 
variably has eyes of the. darkest brown,—almost 
black,—and hair of jet black. 

We remark, in our classification, that the 

102 


EE or Sea ee ae as ok eee 


COLOUR IN DRESS 


complexion of this type generally has a warm 
hue inclining toward a golden-brown, at times 
inclining to the olive scale, and at others showing 
a leaning to what has been designated the copper- 


coloured complexion; but neither of these some- 


what abnormal hues belongs to the Brunette of 
this country, while they may be found in small 
proportions in the complexions of the daughters of 
mixed races. 

Correctly described, the complexion of the true 
Florid Brunette may be said to consist of a refined 
and light subdued yellow- or orange-brown, portions 


_ of which display a colour approaching the primary 


red rather than the rose-red scale, the latter being 
a characteristic of the Ruddy Blonde type.’ It will 
be observed that in the skin of the Florid Brunette, 
the hues of yellow and red predominate, which har- 
monise together by analogy, and with the eyes and 
hair, which are black, by contrast. 

Accordingly, as the Florid Brunette displays an 
agreeable group of harmonising colours, care must 
be taken not to weaken the harmony by the adop- 
tion of objectionable colours in dress. At the same 
time, it is advisable to neutralise any unpleasant hue 
which the complexion may present, such as too much 
yellow, which has a decided tendency to impart a 
sallow and jaundice cast to the skin. 

Rich MAIZE, YELLOW, and deep GOLD-COLOUR 

103 


COLOUR IN DRESS 


suit the Florid Brunette, because, while they contrast 

in a highly favourable manner with the eyes and 
hair, intensifying them by the addition of purple, 
they harmonise with the hues and tints of the skin, 
and neutralise, to a perceptible degree, any super- 
abundance of yellow they may naturally contain. 

ORANGE, although it may be said to suit 
brunettes with more or less positive orange in 
their complexions, is too brilliant and gaudy to 
be used in any dress save that for the theatre 
or fancy-dress ball. Broken orange, or that of a 
tawny hue, may be used with caution, and when 
trimmed with black lace and velvet. | 

All REDS, which are not in themselves too 
flaming, are highly suitable. Orange-red, scarlet, 
and light and vivid crimsons, should be used with 
caution in complete dress, while they may be 
effectively introduced in a headdress, imparting 
great richness to black hair by simultaneous con- 
trast. Dark red of the primary scale, is favour- 
able for general dress, associated with complexions 
which are naturally rich in red, because, besides 
its tendency to neutralise the colour of the skin, 
it reduces its force (sometimes undesirable) by 
simultaneous contrast. 

MAROON, especially when inclining toward the 
positive red scale, is a suitable colour, and is quiet — 
in its effect. Warm browns may also.be worn when 

104 


P ' - a 
ail 


COLOUR IN DRESS: 


very retiring effects are desired; but they are not 
to be recommended as a general rule. 

ROSE-PINKS, preferably of somewhat broken 
hues, and arranged in different tones, can be used 
with pleasing results. 

DARK BLUE can also be worn by the Florid 
Brunette, especially when her complexion can re- 
ceive a slight addition of orange hue, and an 
equally slight reduction in depth of tone. Olive- 
green occupies, practically, the same relation to the 
complexion as dark blue. 

The colours to be avoided by the Florid Bru- 
nette are LIGHT BLUES, LIGHT GREENS, PALE 
VIOLETS, VIOLET-PINKS, and PURPLES of all hues. 

Regarding BLACK and WHITE, Ovid, in his “ Art 
of Love,” remarks, “‘ Black suits the fair: it became 
Briseis, she was dressed in black when she was car. 
ried off. White suits the dark: it added to thy 
charms, Andromeda, when clothed in white, thou 
_didst traverse the Isle of Serephos.” The poet is 
doubtless right as a general rule: if, by positive 
contrast, black imparts fairness to a brunette ; white 
produces a similar effect by the reflected light it 
bathes all that comes within its range. This is 
true, but if the Florid Brunette affects white, let her 
be careful to select a decided cream-white. While 
black may exert, by direct juxtaposition with the 
skin, a certain purifying influence, it produces a 

: 105 


COLOUR IN DRESS 


melancholy effect almost approaching positive 
mourning, unless relieved with glossy or coloured 
trimmings. Gold or gold-colour’is effective in this 
direction. Old or ecru-coloured lace is also a 
valuable form of relief. Velvet should be preferred 
to any other black fabric. 

The subject of the present Chapter could be 
greatly extended by using a multitude of words; 
but sufficient information and advice has been 
given, in a necessarily condensed form, to assist 
any lady in selecting colours calculated to enhance 
or retain the natural perfections of her charms. 


106 


THE SYMBOLISM AND. 
EXPRESSION OF COLOURS 


CHAPTER V 


THE SYMBOLISM AND EXPRESSION OF 
COLOURS 


‘‘ Every passion and affection of the mind has its appropriate 
TINT; and COLOURING, if properly adapted, lends its aid, with 
powerful effect, in just discrimination and forcible expression of 
them; it heightens joy, warms love, inflames anger, deepens sad- 
ness, and adds coldness to the cheek of death itself.”—OPiE’s 
LECT, iv. 147. 


MHERE are few persons, we venture 
to think, who are the possessors of 
even moderate intellectual powers, 
who will deny that colours possess 
something beyond the value which 
they derive from their position in the chromatic 
scale, or from their simple power to please the eye ; 
nor will they seriously question the widely recog- 


nised fact that there is a language in colours not 
the least expressive among the many tongues of 
Nature. 
That there is a great power of expression in 
colours is acknowledged by all who have investi- 
cated the subject ; and, as we shall presently show, 


109 


COLOUR IN DRESS 


those minds that have, in their strength and in- 
sight, read deeply of the wondrous essays which 
are written on the ever-open page of Nature, and 
have observed more keenly the effects of all things 
lovely upon the sensitive mind, have been the 
most ready to acknowledge the expressive power 
of those all-pervading agents in the majestic 
scheme of Creation. 

Colour is very similar to music, whose varied 
strains affect and work upon the sentiments and 
passions of the mind; but colour not being so 
energetic or demonstrative in its nature as music, 
it is of necessity .ess powerful or impressive in its 
effects. Perhaps we may venture to assert that 
colour requires, for its just and proper appreciation, - 
on the one hand, a specially tuned and sensitive 
nature; and, on the other, a mind peculiarly 
educated, and possessed of refined taste. | 

Colours are symbols or emblems; that is, they 
have the power of suggesting to the mind certain 
ideas, quite apart from anything connected with their 
physical nature. These attributes have been given 
by Nature herself—the natural expression of colours. 
have become their symbolical values. 

“For evidence of the natural expression of 
colours,’ as Field truthfully remarks “we need 
not look beyond the human countenance, that 
masterpiece of expression, in which are acknow- 
IIo 


SYMBOLISM AND EXPRESSION 


ledged—the redness indicative of anger and the 
ardent. passions, and the blush of bashfulness and 
shame betraying a variety of consciousness,—the 
sallowness or yellowness of grief, envy, resentment,. 
and the jealous passions,—the cold, pallid d/ueness 
of hate, fear, terror, agony, despair, and death ; with 
a thousand other hues and tints accompanied by 
expressions readily felt, but difficultly described or 
understood. : 

“Tf we turn our view from the face of man to 
that of nature in the sky, we find colour equally 
efficient in giving character, sentiment, and ex- 
pression to the landscape, indicating the calm and 
the storm, and in infinite ways betraying the latent 
emotions of the spirit of nature.” 

In the changes of the seasons colour takes a 
very prominent part, and, as before, we find it ever 
truthful and highly expressive. As the seasons 
have, by almost universal consent, been adopted 
as types or emblems of the periods of human life, 
the characteristic colours of the former have, by 
‘a sort of tacit consent, been adopted to express 
the latter. re 
The lovely verdure of Spring supplies us with 
the colour green, which most expressively denotes 
_the freshness and the budding of childhood and 
youth. 

The full richness of Summer gives the brilliant 

III 


COLOUR. IN DRESS 


and glowing: colours, which so forcibly symbolise 
the vigorous and ardent nature of early manhood. 

The ripe-red and the more sombre hues of 
fruitful Autumn, supply the symbolical colours for 
mature manhood. 

And Winter, with its cold, white, and destructive 
nature, gives us the pale and bleak gray hues, 
symbolical of old age, decay, and death. 

Fair Spring comes lightly stepping, 
In emerald mantle clad, 


The meadow’s and the forest's friend, 
A fresh and healthy lad. 


The Summer, treading after, 
With steady march and bold— 

A knight of proved and valiant deeds, 
In purple and in gold. 


And, as a wise and learned man, 
In ample, ruddy gown, 

Ripe Autumn bends his peaceful way, 
And showers rich blessings down. 


A sad lone man comes Winter— 
An aged Carmelite ; 

With pensive, staid, and stealthy steps, . 
In garment cold and white. 


“The analogy of the natural series of colours, 
with the course of the day and the seasons, coincides 
with the ages of ‘man or the seasons of life, and 
adapts it to express them in the hues and shades 
of draperies and effects; from the white or light 

112 


SYMBOLISM AND EXPRESSION 


of morn or dawn of innocuous infancy, through all 
the colours, ages, and stages of human life, to the 
black or dark night of guilt, age, despair, and 
death. 

“ Throughout all seasons, and in all countries, it 
is by the colour of his crops that the hopes, fears, - 
acts, and judgments of the husbandman are excited ; 
nor are the colours of the ocean and the sky less 
indicative to the mariner; nor the colours of his 


merchandise to the merchant,—so universal is this 


language of colour, the sole immediate sign to the 
eye, which is the chief organ of external expression 
and intelligence. | 

“ Whether it be the face of nature or of man 


+ that is tinged with the varied expression of the 


gloomy and the gay, it reciprocates corresponding 
sentiments in the spectator, and we even form 
judgments of the disposition, temperament, and 
intentions, as well as of the youth, vigour, age, 
and race of individuals by colour and com- 
plexion; hence colours have been made symbols 
of the passions and affections, denoting by a 
sort of tacit consent their connection with moral 
feeling. 

“ Of these popular symbols, d/ack denotes mourn- 
ing or sorrow ; gray, fear, etc. ; red is the colour of 
joy and love ; blue, of constancy ; yellow, of jealousy ; 


green, by a physical analogy, of youth and hope ; 


113 I 


‘COLOUR IN DRESS 


and white, by a moral analogy, of innocence and 
purity. | 

“These remarks do not apply merely to the 
more positive colours individually, but extend with 
even greater forcé to the. more neutral or broken — 
compounds, every hue and shade having its corre- 
sponding shade of expression and _ reciprocation, 
affording materials for the cultivation of feeling 
and taste; the sublimest expression vibrating in — 
all cases to the most delicate touch.” * 

For direct allusions to the expression of colours, 
we naturally turn to the pages of imaginative poets ; 
but it must be acknowledged that in them. we find 
numerous instances of bad as well as good colour- 
ing ; just as we find: them on the canvases of the 
painters. Poets take great licence in their use of 
colours according to the demands of their verses, 
and, perhaps, to the sentiments felt at the moments 
of writing. For instance, in their language the sea 
becomes. the“ azure deep,” the “green ocean,” “the 
purple main,” “the black ocean,” “the white waves,” 
etc. ; each colouring used either to paint in words 
some definite condition of the sea under the varied 
effects of sunshine and storm; or to express some 
special sentiment implied, or set forth in simile or 
allegory. Among all the “ painter poets,” Shake- 
speare, as might be expected, stands pre-eminent ; 

* “ Chromatography,” by G. Field, pp. 12, 13. 
1i4 


SYMBOLISM AND EXPRESSION 


and, in using colours, is invariably true to Nature's 
expressions. The following few extracts will serve 
to show the use of colours in poetry, and in 
symbolism. 

BLUE.—This primary is a cold and retiring 
colour, and, accordingly, its effect on the mind and 
eye. is of a quiet, soothing nature. Harmonising it 
with the other primary colour yellow, Shakespeare 
says— , 

“Thou shalt not lack 


The flower that’s like thy face, pale vtmrose; nor. 
The azured harebell, like thy veins.” 


Randle Holme, in his “ Academy of Armoury,” 
says that blue “signifieth piety and sincerity” ; 
while Sylvanus Morgan, in his“ Sphere of Gentry,” 
says, “blue signifieth divine contemplation. In 
moral virtues, it signifieth godliness of conversation, 
and is of the colour of the air, attributed to celestial 
persons, whose contemplations have been about 
divine things, which was the cause it was so mainly 
used about the garments of the high priests under 
the Jewish dispensation.” 

Agreeing substantially with these earlier writers, 
Field remarks: “ The moral expression or effects of 
blue, or its influence on the feelings or passions, 
partake of its cold and shadowy relations in sooth- 
ing and inclining to melancholy, and its allied 
sentiments: accordingly it is rather a sedate than a 

115 


Peo ha yt eee 
147° It 
PS At. 


COLOUR IN DRESS 


gay colour, even when in its utmost brilliancy. In 
nature it is the colour of Heaven and the eye, and — 
thence emblematical of. intelligence and divinity. 
It is, accordingly, by a natural analogy, used in — 
mythological representations to distinguish the 
mantle of Minerva, the blue-eyed goddess, and the 
veil of Juno, the goddess of air; while Diana, or 
the Moon, is robed in blue and white, as the Isis of 
the Egyptians and her priests. were in pure azure ; 
and Poetry herself is personified in a vesture of ~ 
celestial blue.” 

The following extracts from the poets will show 
the expressive character of blue as realised uy 
contemplative and sensitive minds. 

As the moral colouring of Hope, Spenser, in his — 
“ Fairie Queen,” says of “ Speranza,’ that she—~* 


“Was clad in d/ue that her beseemed well.” 


Also as the moral colouring of the tender 
sentiment of Pity— 


“Long, Pity, let the nations, view 
Thy sky-worn robes of tend’rest blue.” 
COLLINS. 


As expressive of something terrible, an and 
chilling — 3 


*¢ And heal the harms of thwarting thunder d/xe.” 
MILTON. 


116 


ee 


SYMBOLISM AND EXPRESSION 


“ © coward Conscience ! how dost thou afflict me ! 
The lights burn d/ue /—It is now dead midnight.— 
Cold fearful drops stand on my trembling flesh.” 


SHAKESPEARE. 
In other passages of the poets we observe their 
recognition of the expression of blue in vivid and 
harmonious contrasts, thus — 
“But Fame, with golden wings, aloft doth fly 
Above the reach of ruinous decay, 


And with brave plumes doth beat the azure sky, 


Admired of base-born men from far away.” 
SPENSER. 


“ Their eyes d/ue languish, and their go/den hair—” 
COLLINS. 


“ There’s gold, and here my d/west veins to kiss.” 
SHAKESPEARE. 


“Yast thou left thy 4/e course in neaven, 
Golden-haired son of the sky?” 
OSSIAN. 


“ White and azure, laced 
With due of heaven’s own tinct.” 
SHAKESPEARE. 


“ Why does one climate and one soil endue 
The dlushing poppy with‘an orange hue, 
Yet leave the lily Aa/e, and tinge the violet d/ue ?” 
PRIOR. 
RED.—This primary differs in its powers of 
expression from the primary blue, being the most 
positive and assertive of all the colours. Its effect 
on the mind is that of ardent heat, splendour, and 
power. In Christian symbolism, red is emblematical 


117 


COLOUR IN DRESS 


of the Passion of our Lord, and of the suffering and — 
martyrdom of the Saints. It also signifies Divine 
love, power, and royal dignity ; also bloodshed and 
war. Durandus says: “Scarlet vestments are used 
on the festivals of apostles, evangelists, and martyrs, - 
on account of the blood of their passion, which — 
they poured out for Christ.” | 

In another direction, Field remarks: “Red is 
expressive of ardour and the sanguine passions: it 
is hence peculiarly a military colour, as appropriate — 
to war as white is to peace: hence the red plumes — 
worn by military heroes in ancient times. It dyes — 
the flag of defiance, and is the emblem of blood ; 
naturally stimulating and indicating fierceness and 
courage. As powerful, it has become the symbol 
of power and distinction, and hence has decorated 
equally the regal robe and the mantle of martyr- 
dom, producing awe, veneration, and fear; while in — 
its gentler offices it moves and assists the affections 
of— - . 


“Love, Hope, and Joy, fair Pleasure’s smiling train ;— 


and is, upon the whole, the most effective of colours. 

The poets have accordingly availed themselves 

freely of this colour and its progeny, for the pur- — 

pose of expression, in decorating figures and con-— 

structing epithets, often using the term purple 

metonymically for red ;—sometimes, it is true, for 
118 | 


SYMBOLISM AND. EXPRESSION 


the mere words as sounds, but frequently also with 
the refined taste, true judgment, and cultivated 
feeling of the painter.” 

In the following extracts from the poets we find 
red employed as expressive of love, joy, beauty, 
ardour, dignity, sin, and anger :— 


“For me the balm shall J/ced, the amber flow, 
The coral réedden, and the ruby glow.” 
POPE. 


“See your guests approach :. 
Address yourself to entertain them sprightly, 
And let’s be ved with mirth.” 
SHAKESPEARE. 


“ Blooming youth and gay delight 
Sits on thy rosy cheeks confess’d.” 
PRIOR. 


7 ‘“Beauty’s ensign yet 
Is crimson in thy lips and in thy cheeks.” 
. SHAKESPEARE. 


“ He spoke: the goddess with the charming eyes 
Glows with celestial ved, and thus replies——” 
Porr’s HOMER. 


‘While Mars, descending from his crzmson car, 
Fans with fierce hands the kindling flames of war.” 
HALLER. 


“ The scarlet honour of your peaceful gown.” 
DRYDEN. 


“Thy ambition, 


Thou scarlet sin, robb’d this bewailing land 


Of noble Buckingham.” 
SHAKESPEARE, 


119 


COLOUR IN DRESS 


‘If I prove honey-mouth’d, let my tongue blister, 
And never to my red-/ook'd anger be . 
The trumpet any more.” 
SHAKESPEARE. 


“Change the complexion of her maid-pale peace 
To scarlet indignation, and bedew 


Her pastures’ grass with faithful English blood.” 
SHAKESPEARE. 


“* Spreads the ved rod of angry pestilence.” 
MILTON. 


“ Beaufort’s ved sparkling eyes blab his heart’s malice.” 
SHAKESPEARE, 


The vivid contrasts of white and red, and with 
the secondary and complementary colour, green, are 
frequently found in the poets, giving great force and 
expression to their thoughts and pictures. The 
following quotations are a few examples of the use 
of such contrasts :—_ 


“Tis beauty truly blent, whose ved and white 
Nature’s own sweet and cunning hand laid on.” 
SHAKESPEARE, 


‘Unto the ground she cast her modest eye, 
And ever and anon with roste red 
The bashful blood her szowy cheeks did die 
That her became as polished zvory 
Which cunning craftsman’s hand hath overlaid 
With fair vermilion, or pure lastery.” 
SPENSER. 


“The seasons alter : hoary-headed frosts 
Fall in the fresh lap of the crzimson rose.” 
SHAKESPEARE. 


120 


SYMBOLISM AND EXPRESSION 


‘‘So women, to surprise us, spread 
Their borrow’d flags of whzte and red.” 
BUTLER. 


‘‘ Through whose zwAzte skin 


With damaske eyes the rudy blood doth peep.” 
MARLOWE. 


“‘ See where she sits upon the grassie green 

(O seemly sight !) 

Yclad in scar/e¢ like a maiden queen, 
And ermines wi¢e. 

Upon her head a crizmosin coronet 

With damask roses and daffodils set, 
Bay leaves between 
And primroses green, 


Embellished the sweet violet.” 
SPENSER. 


YELLOW.—This primary is of all the colours the 
nearest approaching to white, and is, accordingly, 
the most brilliant and advancing either alone or 
in conjunction with other colours. As a rule, posi- 
tive or spectrum yellow should be sparingly intro- 
duced in dress, preference being given to its modified 
hues, such as gold-colour, maize and primrose. 
Yellow is the principal power also with red in 
expressing or representing the effects of heat and 
fire, as we find it in painting and poetry. 


“Where Indian sums engender new diseases,— 
Where snakes and tigers breed,—I bend my way, 
To brave the fev’rish thirst no art appeases— 
The yellow plagues, and madd’ning d/aze of day. ” 
FROM THE SPANISH OF GONZALVO. 


121 


Oe eee ian 


COLOUR IN DRESS 


Yellow of a sallow hue is the vulgar: symbol 
of jealousy, envy, and other malignant passions. 
Shakespeare, alluding to jealousy, says— _ 

“T will possess him with yellowness,, 


For the revolt of mien is dangerous.” 
SHAKESPEARE. 


‘And Jalousie, ~ 
That wered of ye/w colours a gerlond 
And had a cuckow sitting on hir hond.” : 
CHAUCER. © 


“Jealous piques - 
Which th’ antients wisely signified, 
By th’ ye//ow manto’s of the bride.” 
BUTLER. 
On the other hand, bright yellow has been 
freely used as expressive of better thoughts and 
things. In the following quotations it is employed 
as emblematic or expressive of charity, joyousress, 
plenteousness, and old age. 
Spenser, who was a great poetical colourist, 
gives the emblematical colour to Charity, as 
Charissa, in his “ Fairie Queen,” thus— | 


*“‘ Was all in vel//ow robes arrayed.” 


Goldsmith speaks of “The yellow-blossom'd 
vale” ; and Byron of “ The yellow harvest’s count- 
less seed.” 


“Now when the rosy morn began to rise, 
And wave her s¢f/rom streamer.” 
DRYDEN. | 
122 


— ese UL le eee pS 


— ee 


SYMBOLISM AND EXPRESSION 


“Glittering in golden coats, like images, 
As full of spirits as the month of May, 
And gorgeous as the sun at midsummer.” 
SHAKESPEARE. 


“Two beauteous springs to ye//ow autumn turned.” 
SHAKESPEARE. 


“T have lived long enough: my way of life 
Is fallen into the sear, the yel/ow leaf.” | 
SHAKESPEARE. 


GREEN.—This secondary colour, being formed 

by the admixture of blue and yellow—the most 
retiring and the most advancing of the primaries— 
accordingly occupies, in the natural scale of colours, 
a middle place in relation to light and darkness. 
It is doubtless due to this that green is so grateful 
and restful to the eyes. 
_ In symbolic art green is the emblem of boun- 
tifulness, youth, happiness, and prosperity. Syl- 
vanus Morgan, in his “Sphere of Gentry,” supports 
these significations, saying: “The fifth and last 
commonly-received colour is vert or green, and 
signifieth bountifulness of God, and in moral vir- 
tues, mirth, youth, and gladness. The green field 
is the emblem of felicity and prosperity, and is the 
symbol of the ‘ Resurrection.’ ” 

Field remarks: “Verdure is also the symbol of 
hope, which, like the animating greenness of plants, 


leaves, us only with life; it is also emblematical 


of immortality, and the figure of old Saturn or 
123 


COLOUR IN DRESS 


Time is crowned with evergreen. This colour 
denotes also memory, and affords a great number 
of epithets and metaphors, colloquial as well as 
rhetorical. Plenty is personified in a mantle of 
green. In mythological subjects it distinguishes 
the draperies of Neptune, the Naiades, and the 
Dryades ; and, from being a general garb of nature, 
perhaps, has been held to be a sacred or holy 
colour. 

The following passages from the poets show 
their recognition of the expressive powers of this 
colour : 


‘My salad days, 


When I was green in judgment, cold in blood.” 
SHAKESPEARE. 


“ While virgin Spring, by Eden’s flood 
Unfolds her tender mantle green. 
BuRNS. 


“ The green stem grows in stature and in size, 
But only feeds with hope the farmer’s eyes.” 
; DRYDEN. 


“You may be jogging while your boots are green.” 
SHAKESPEARE. 


“ And loud-he sung agen the sunny shene ; 
O Maye, with all the flowres and thy greve 
Right welcome be thou, faire, freshe Maye.” 
CHAUCER. 


“ That yon green boy shall have no sun to ripe’ 
The bloom that promiseth a mighty fruit.” 
SHAKESPEARE. 


124 


SYMBOLISM AND EXPRESSION 


“ But with your presence cheer’d, they cease to mourn, 
And walks wear fresher greez at your return.” 
DRYDEN. 


** Was the hope drunk 
Wherein you dress’d yourself? Hath it slept since? 
And wakes it now to look so green and pale?” 
SHAKESPEARE. 
Shakespeare uses green as expressive of jealousy 
in the following passages : 
““O beware, my lord, of jealousy ; 


It is the gveen-eyed monster, which doth mock 


The meat it feeds on.” 
OTHELLO. 


“¢ How all the other passions fleet to air 
As doubtful thoughts, and rash-embraced despair, 


And shudd’ring fear, and green-eyed jealousy !” 
MERCHANT OF VENICE. 


ORANGE.—This secondary colour, being formed 
by the admixture of red and yellow—the most 
advancing of the primaries—is, accordingly, next to 
yellow, the most brilliant in the natural scale of 
colours. It most closely resembles the hue of deep 
gold, unless too large a proportion of red enters 
into its composition. We find the poets constantly 
using the term go/den, instead of the name of the 
colour to which they evidently allude. Orange is 
expressive of warmth, fruitfulness, and wealth, and 
these expressions are suggested and supported by 
the glory of the sunshine, which is a pure orange, 
inclining somewhat to the yellow scale. 

125 


' COLOUR IN DRESS 


The following lines bear out the statement 
made above, respecting the use of the term 
“ golden ”— 

‘‘ Extremes, alike, in either hue behold, 


Hot—in the go/den, in the silvery—cold.” 
SHEE. 


“ So sweet a kiss the go/den sun. gives not 
To those fresh morning drops upon the rose.” 
SHAKESPEARE. 


“No more the rising sun shall gz/d the morn, 
Nor evening Cynthia fill her silver horn.” 
POPE. 


*‘ Culls the delicious fruit that hangs in air, 
The purple plum, green fig, and golden pear.” 
ROGERS. 


PURPLE.—This secondary is the most retiring 
of all the rich colours ; it is composed of red and: 
blue, but is not their medium colour, being heavier 
in its effect on the eye than the latter. The pro- 
portions of its constituents vary considerably, but 
the perfect purple is understood to be composed of 
red five parts, and blue eight parts. When inclining 
closely to the blue scale the colour becomes violet. 
In symbolical art purple has different powers of 
expression, when rich and inclining to the crimson 
scale it is symbolical of dignity, state, and regal 
power ; and when it inclines to the blue scale it is 
symbolical of mourning, especially in religious art, 
and expressive of gravity, sorrow, and sadness. On 

126 


nail ie ata 


SYMBOLISM AND EXPRESSION 


this subject, Field remarks: “As purple, when 
inclining toward redness, is a regal and pompous 
colour, it has been used in mythological representa- 
tions to distinguish the robe of Jupiter the King of 
Gods, and in general also as a mark of sacerdotal 
superiority: in its effect on the mind it partakes 
principally, however; of the powers of its archeus, 
or ruling colour, blue, and hence a highly poetical 
colour, stately, dignifying, sedate, and grave; 
soothing in its lights, and saddening in its shades ; 
accordingly it contributes to these sentiments 
under the proper management of the painter and 
the poet, as it does also popularly in its use in 
court mournings, and other circumstances of state: 
hence the poets sing of ‘purple state. The rhap- 
sodists of Greece often used to recite in a theatrical 
manner, not only with proper gestures, but in 


_ colours suitable to their subject; and when they 


thus acted the Odyssey of Homer, were dressed in 
a purple-coloured robe to represent the sea-wander- 
ings of Ulysses: but when they acted the Iliad 
they wore one of a scarlet colour, to signify the 
bloody battles described in the poem. 

“Next to green, purple is the most pleasing of 
the consonant colours; and has been celebrated as 


_a regal or imperial colour, as much perhaps from its 


rareness in a pure state, as from its individual 
beauty. It is probable, nevertheless, that the famed 
127 


-~ COLOUR IN DRESS 


Tyrian purple was nearer to the rose, or red, than 
the purple of the moderns, in which inclination of 
hue this colour takes the names of cr#mson, etc., as 
it does those of violet, Lilac, etc., when it inclines 
toward the other constituent blue; which latter 
colour it serves to mellow, or follows well into 
shade.” 

The following quotations show to some extent 
the expressions of purple according to some of our 
imaginative poets. 


“ Shall we build to the purple of pride?” 
_ KNOWLES. — 


“ Aurora now, in radiant purple drest, 


Shone.from the portals of the golden east.” | 
HOOLE. 


“ Arraying with reflected purple and gold 
The clouds that on his western throne attend.” 
MILTON, 


“ Lest from his hands the purée reins should slip.” 
SIMONIDES. 


‘“* He is come to ope 


The purple testament of bleeding war.” 
SHAKESPEARE, 


‘“‘ Aurora had but newly chased the night 


And purfpled o’er the sky.” 
DRYDEN. 


‘“‘ Here Love his golden shafts employs ; here lights 


His constant lamps, and waves his purple wings.” 
MILTON. 


128 


SYMBOLISM AND EXPRESSION 


. Spenser employs purple as the moral colouring 
of his Prazse-Deszre thus :— 


“In a long purple pall, whose skirt with gold 
Was fretted all about, she was arrayed.” 


WHITE—Although it may be equivocal to 
apply the term colour to white, which to the eye is 
the negation of all colour, yet it must be recog- 
nised both alone and in its relation to all colours. 
It is replete with symbolic value and expression. 
Durandus says that white signifieth pureness of 
living : that “white vestments be used in the Festi- 
vals of Holy Confessors, and Virgins which be not 
Martyrs, on account of their integrity and innocence.” 
On account of the same, white is used on the Festi- 
vals of Angels. Gavantus says that the nature of 
the colour white “ denotes glory, joy, and innocence.” 
The other expressions or symbolic values attributed 
to white are piety, innocency, gentleness, timidity, 
modesty, dignity, and peace. Spenser, in his 
*“‘ Fairie Queen,” thus describes his Faith as Fidelia : 


“‘ She was arrayed all in Zz/y white.” 


The following extracts from the poets show 
how they have recognised the expressive value of 


white— 
“The szowy wings of Innocence and Love.” 
AKENSIDE. 
129 K 


COLOUR IN DRESS 


“ She first, white Peace, the earth with plowshares broke, 


And bent the oxen to the crooked yoke.” 
ADDISON, 


“Wh.te as thy fame, and as thy honour clear.” 
DRYDEN. 


‘“ Came vested all in whdée, pure as her mind.” 


‘“‘ White-robed truth.” 
: MILTON. 


“ White-robed innocence.” 
PoPE. 


‘CQ welcome pure-eyed Faith, white-handed Hope, 
Thou hovering angel, girt with golden wings, 


And thou unblemished form of chastity !” 
MILTON. 


Gray.—As Field justly remarks: “Grave 
sounds, like gray colours, are deep and dull, and 


there is a similarity of these terms in sound, signifi-- 


cation, and sentiment, if even they are not of the 
same etymology: be this as it may, gray is almost 
as common with the poet, and in its colloquial use, 
as it is in nature and painting. The grays, like the 
other semi-neutrals, are sober, modest colours, con- 


tributing to the expression of gloom, sadness, 


_ frigidity, and fear,—the grave, the obscure, the 


spectral,—age, decrepitude, and death ; bordering 


in these respects upon the powers of black, but aid- 
ing the livelier and more cheering expressions of the 
other colours by diversity, connection, and contrast, 


and partaking of the more tender and delicate 


130 


/ 


SYMBOLISM AND EXPRESSION 


influence’ belonging to white, as they approach it in 
their lighter tints.” In the poets we find gray fre- 
quently-alluded to. 


“ Now came still evening on, and twilight gray 
Had, in her sober livery, all things clad.” 


“‘ They left me, then, when the gray-hooded even’, 
Like a sad votarist in palmer’s weed, 
Rose from the hindmost wheels of Phoebus’ wain.” 
MILTON. 


“ For all was blank, and bleak, ana yray,— 
It was not night—it was not day.” 
BYRON. 


“Oh! how unseemly shows in blooming youth 
Such gray severity.” . 
MILTON. 


Spenser thus describes his Humbleness, as 
Humilta— 


“Was an aged sire all hoary-gray.” 


“The grey-eyed morn smiles on the frowning night, 
Checkering the eastern clouds with streaks of light.” 
SHAKESPEARE. 


BLACK.—Black is the most gloomy of all the 
colours; the lowest of the complete series, being 
the opposite extreme from white: it is to darkness 
what white is to light. It is symbolical or expres- 
sive of every dark passion of the mind—of degra- 
dation and crime. It has been very generally 
accepted among civilised people as the garb of 

131 


COLOUR IN DRESS 


mourning and woe ; and the emblem of death and 
destruction. In art it has always been the effective 
instrument of obscurity, depth, the terrible, the 
profound, and the sublime. In literature it has 
been employed ideally in designating the dismal, 
the mournful, the horrible, the criminal, and every 
sentiment of melancholy. Spenser clothes his /d/e- 
ness in this colour, thus— 


“ The nurse of sin, - 
Arrayed in habit d/ack and amice thin.” 


“* Black is the badge of hell, 
The hue of dungeons, and the scowl of night.” 
SHAKESPEARE. 


“ News fitted to the night,— 
Black, fearful, comfortless, and horrible.” 
SHAKESPEARE. 


“ Stars, hide your fires ! 
Let not light see my black and deep desires.” 
SHAKESPEARE. 


“ We mourn in d/ack, why mourn we not in blood?” 
SHAKESPEARE. 
““Q, beat away the busy meddling fiend, 
That lays strong siege unto this wretch’s soul, 
And from his bosom purge this d/ack despair!” 
SHAKESPEARE. 


“* Arise, black vengeance, from thy hollow cell.” 
SHAKESPEARE. 


“ Abhorred Styx, the flood of deadly hate ; 
Sad Acheron, of sorrow 4/ack and deep.” 


“ O’erlaid with d/ack, staid Wisdom’s hue.” 
MILTON. 


132 


SYMBOLISM AND EXPRESSION 


“When in dim chambers long é/ack weeds are seen,. 
And weeping’s heard where only joy has been.” 
ROGERS. 


“ Hence, loathed Melancholy, 
Of Cerberus and dlackest midnight born.” 
MILTON. 


“* Besieged with sadle-colour’d Melancholy, 
I did commend the 4/ack, oppressing humour 
To the most wholesome physic of thy health-giving air.” 
SHAKESPEARE. 

As might be expected, Shakespeare makes a 
much greater use of black than any other poet ; its 
expressions being closely connected with tragedy 
and .all its attendant passions and horrors. Milton 
also employs it frequently and forcibly. 

The tertiary colours—Citrine, Russet, and Olive 
—are of frequent occurrence in poetry, but so 
seldom with a direct bearing on their expressions, 
that it is unnecessary to give quotations. It may 
be remarked that of the three, russet is the one 
most often used, and generally in connection with 
natural scenes and phenomena. 


THE END. 


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